There is no such thing as true objectivity; life is all a matter of perspective. One’s subjective view will always differ from another’s. That is why having multiple perspectives allows for more information to be brought across, because neither one truly has the full story, but together, a full story can be pieced together. This and other reasons are why perspective shifting in books is so important. The shifting perspectives in Mary Shelley’s Frankenstein are there to create three-dimensional characters, close loose plot threads, and expand upon existing suspense.
William Penn formerly mentioned that, “For death is no more than a turning of us over from time to eternity.” He simply meant that death is not the end of our lives, but merely another phase. In the poem “Death, be not proud” also known as the “Holy sonnet 10” by John Donne, the narrator of the poem speaks to the personification of death itself and gives his beliefs on his view of what death truly is as well as others’ views: it’s entity that can not control anything, and is not the end of a one’s life. Through the use of his figurative language, tone and language, John Donne conveys the message that death is not someone or something to be afraid of because one lives on in heaven. Donne uses several instances of figurative language in his sonnet. At first, when John Donne first launches his poem, he actually uses the personification “Death, be
Personification is a signature device used in the poem, and this can be seen from the capitalized ‘Death’ and the capitalized ‘Immortality’. Death is personified as a civil suitor in the poem, and the poet’s vision on death and her diction with the title are comprehensible since death is inevitable, and will always be waiting for the victim. Symbolism is also used in the poem. We passed the school, where children stove at recess - in the ring – we passed the fields of gazing grain – we passed the setting sun.’ This stanza neatly symbolizes the three main stages of life: childhood, adulthood, and age. The first stage is symbolized, obviously, by the children themselves at the school; the second stage is pictured as a harvest, as life ripens towards full maturity; and finally, there is the reference to the setting sun, which represents the closing of life.
It was Sunday. Robert wasn’t there. She died on the Monday, never regaining consciousness.” (Findley 21) The death of his sister, Rowena causes him to suffer from constant flashbacks and horrid memories of her death while dealing with the tribulations of the war. Throughout the development of his gentle, innocent character into the epitome of a wartime officer and courageous veteran, Robert faces many antagonizing events which are made worse by the constant reminder of his sister’s death; a past experience which has an evocative
Throughout the first four books of the Odyssey, Penelope is often distressed and unable to get things done due to the loss of her husband. When the anyone reminds her of her husband, Penelope is immediately saddened, therefore reminding the ones who surround her of their lost king. High Boundary Ambiguity is a common diagnosis for people who have lost a loved one, physically or psychologically, but still are in someone's life either psychologically or physically. Penelope is unable to cope with the loss of her husband because she is constantly reminiscing in their memories and wondering if he could return causing distress to her and the greater
When the fatal ailment named smallpox claimed both of her parents’ lives. When she witnessed Amari crying, there was a flashback in the novel to when she had “wept bitterly when her mother had died of disease as well, but not one tear had given her a bite to eat or a place to stay” (Draper 80). The quote means that losing a family member can cause a person to feel an intense disturbance emotionally. Family is vital for a person because a person will be agitated if a member is lost. Polly soon confided to Teenie that her homeland had nothing “much there but bugs and gators and a few folks scraping the dirt to make do.
Have you ever wondered what our children, and grandchildren’s lives will be like? We Screwed Up; A Letter of Apology to my Granddaughter (Ward, 2012) is a letter written by Chip Ward to his four year old granddaughter and her possible unborn siblings. He speaks clearly about the devastation that past generations have caused to the planet we all call home, although he fails to provide any evidence concerning what he claims, as well as majorly lacks appreciation for the organizations already working towards a better tomorrow. Chip Ward begins his letter with an apology to his granddaughter and her siblings for using up all of the oil. He claims that, “We are all gas-hogs, plain and simple” (Ward, 2012), in regards to his generation and those
In "Ligeia," death is never the end. Right from the start we're forced to consider that, though dying is probably the end, there's a small possibility that people can overcome it and return to life. Poe asks us to consider it again and again as we see Glanvill's hopeful quote repeated and read Ligeia's bleak poem, "The Conqueror Worm." By the end of the story, we're so primed to see the controversy resolved. Ultimately, Ligeia triumphs over death, takes over Lady Rowena's body, and comes back to life – or seems to,
Allen Curnow’s ‘Time’ and Emily Dickinson’s ‘Because I Could Not Stop For Death’ show the similar themes of the passing of time and its implications. The two poems both discuss events that occur throughout an average life (childhood, work, marriage and death are some examples), however, there is a stark contrast between the finality of ‘Because I Could Not Stop For Death’ and the mundaneness of ‘Time’. The poem ‘Time’ is a tribute to the passing of time and how much humans have grown to obsess over it. The poem is an extended metaphor, using the repetition of “I am” to instigate that the voice is Time itself. There is a capitalisation of ‘Time’ because in this context, the use of this effect suggests personification.
Death is the end of one’s emotions, and in non-literal terms, death can be the lack of emotions. However, for Poe, death is poetical. And not just any death, but rather the death of a beautiful woman— by beautiful we will assume he refers to the women he admires, the women he found beautiful on the inside, because death is also the end of all external appearances. In any case, if one is familiar with Poe’s style, we will know that the death motif was nothing new in his stories, neither was the death of his female characters. Nevertheless, to understand why he had the audacity of presenting the death of a woman as something poetical, it is necessary to know more about his personal life.