The idea of death in both pieces more on the idealistic side of death, one in approaching death and the other in the last day of life. The Realistic feelings that are pulled from "Thanatopsis," are very much on how the character is, and will eventually die. In "Death Constant Beyond Love", the realistic feel for death is following Sanchez as he YOLO 's his way through life. Unlike in "Thanatopsis," his death is not met in peace, but a rather a bitter-sweet ending. Even though death and realism are what has these two pieces connected, I believe it is also a major separating point.
In the allegorical story, “The Masque of the Read Death”, Poe, tries to express the human desire to avoid Death. The place and the time of the story portray social ignorance, since in the past death was a taboo that provoked terror in humanity. The consternation causes motivation in issues such as death dissolution or prevention. Poe finds himself motivated by death; in this work, his character Prince Prospero has strange tastes that represent death symbolically and makes a great effort to avoid it. First and foremost, the name Prospero is a metaphor; closely related to wealth and material prosperity.
He chooses to personify death, and once figuratively hides behind death to save his life. “But the shelling is stronger than everything. It wipes out the sensibilities, I merely crawl still deeper in the coffin, it should protect me, and especially as Death himself lies in it too” (88). Remarque captures the essence of life throughout the novel, by counteracting the horrors of war with moments of peace and comradeship between soldiers. Most war novels tend to romanticize the ideas of glory and
In the novella The Death of Ivan Ilyich, Leo Tolstoy displays the introspection on the metaphysical meaning of life as the protagonist Ivan Ilyich becomes mentally preoccupied with his impending death. By reversing the chronology of death and encapsulating moral messages centering around the protagonist’s dying experience, Tolstoy emphasizes the importance of confronting death to achieve a meaningful life free of societal ideals. Despite criticizing a society permeated with self-deception and hypocrisies, the writer portrays possibilities of redeeming oneself to live a meaningful life nonetheless. Thus, Tolstoy advocates for authentic human relationships through the juxtaposition of Gerasim’s truthfulness with proprieties followed by others.
Death is an ambiguous entity which leaves most in it’s path desolate and forgotten. Though it’s reasoning and terminus are unknown, it’s intentions are clear and should be respected while revered. The Platonic dialogue Apology by Plato supports my analogical view that Socrates belief that death is nothing to be feared is flawed and misleading. This is supported through Socrates ideas of the destination for the soul, his assumptions on the state of death and his idea of the rewards of the righteous. In the Apology during his death sentence Socrates declares that death perhaps may be a blessing and to fear it is a mistake.
Life and Death. These elements, on opposite ends of the human experience, both subvert all rationalism and reason. Gabriel García Márquez explores this sacred territory in his literature claiming that life and death have no boundaries and that the line separating these two disparate human elements is essentially a fantasy. García Márquez communicates this idea through his magical-realism style of literature, allegory, and symbolism illustrated in a collection of short stories, The Sea of Lost Time, The Other Side of Death, and his novel Love in the Time of Cholera. García Márquez is a storyteller who is committed to revealing the truth about life.
He notices the “light is mostly drained,” the railing is “pretty damn rotted,” and the leaves are dry and yellow. These are all pessimistic and dismal observations to make about nature. These observations only reflect and coincide with his thoughts and feelings towards death. In We Were the Mulvaneys, Joyce Carol Oates uses depressing tones, repetition, specific punctuation, and dismal imagery to emphasize the narrator’s thoughts and feelings about death. These literary devices not only help to do so, but they help to draw out the anxiousness Judd Mulvaney experiences.
You start to obsess over minimal things leading to hallucination. In Poe’s stories, the main characters experience fear, but they all handle it distinctively. Poe uses irony, symbolism, and imagery to show how fear affects the narrator’s mindset, along with their future. In “The Tell-Tale Heart” and “The Masque of Red Death”, the main characters try to isolate themselves from evil, but Poe uses irony to show that death is inevitable.
This quote is the narrator speaking about Yossarian right after he had just abandoned a mission Bologna in chapter fourteen. The setting is in a forest near a beach on Pianosa. With death being a key theme in Catch-22, the whole entire scene is described as a graveyard as to emphasize this theme. The mushroom are portrayed as “fingers” and “lifeless stalks of flesh” thus both being human and dead. Scenes, such as this one, conveys the feeling of despair that comes along with death because of the use of words like, “necrotic” which are decaying body cells that are painful.
I feel this is vital to the scene in order to display Hamlet’s desperateness. He is desperate enough to ask someone else to choose his fate. Furthermore, I appreciate the director’s choice of pauses throughout the soliloquy, which allows contemplation. For example, Hamlet says, “to die, to sleep- no more- and by a sleep to say we end the heartache and the thousand natural shocks that flesh is heir to” (3.1.61-64). Between “to die” and “to sleep” there is a noticeable pause, which allows the audience the question death themselves.