“Death? Why this fuss about death? Use your imagination, try to visualize a world without death! ... Death is the essential condition of life, not an evil.” Robert Frost’s Design supports Charlotte Perkins Gilman’s statement about death. Both see death as a fundamental part of life, not as the end to existence. Thomas’s Do Not Go Gentle Into That Good Night portrays death as the termination of life and something to be avoided as long as possible, though it is inevitable. These opposing views speak to the arguable purpose of death. Death in the inescapable end that awaits all of us, but according to Thomas it’s only function is to conclude life, while Frost represents death as the only means by which life can exist.
Both poems use imagery of light against a black background to signify death and life. Frost speaks of a “Dimpled spider, fat and white” against the blackness of the night. The moth becomes stuck in the web of the spider, where it struggles to break free. Both the moth and the spider are white, but in this scene the spider is bringing the moth to its death. The spider is only doing what it needs to, what it was designed to do. Without the death of the moth, the spider would not be able to live and so the chain continues throughout the ecosystem. Even though the moth is gone, its presence is seen in the life of the spider. Thomas uses similar imagery of light against darkness, such as with “Blind eyes could blaze like meteors…”. This glowing image of a meteor represents life, which is fleeting into the darkness. Unlike the moth in Frosts’ poem, the meteor once it is gone can no longer be seen and it’s existence is over and forgotten.
The diction in both of the poems also suggests each author’s differing ideas about the purpose of death. Thomas uses active, lively words such as “danced” and “gay” to represent life. “Night” and “end” are more passive and dark words are used to symbolize death. Thomas also uses words that evoke an emotional response to pair emotions with life and death. “Rage, rage against the dying of the light.” Rage induces feelings of anger and fury, which is associated with death. “Their frail deeds might have danced in a green bay” correlates the word “dance” with life, which brings to mind feelings of freedom and joy. These contrasting emotions highlight the disparity between life and death.
Frost uses diction to blur the distinction between life and death. “A snow-drop spider, a flower like a froth.” The flower represents the web in which the moth becomes stuck. Flowers are usually associated with delight and innocence, but Frost says the flower is like a froth (from a witches brew), which is usually connected with evilness. This obscures the purpose of the web, whether is it malevolent because it kills the moth or constructive because it allows the spider to live and eat and this obscures the purpose of death as meant by Frost.
One aspect that both poems question about death is the timing. Thomas wrote Don’t Go Gentle Into That Good Night when his father was dying and he instructs his father in this poem to “Rage, rage against the dying of the night”. He knows his father’s death is near, but Thomas is trying to prolong the inevitable. “Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night.” This stanza is contradictory because it suggests that “wise men” know when their death is “right”, but it also says that they should not just let death overcome them, but that they should hold out as long as possible.
Similarly, Frost questions the timing of the death of the moth. “What had that flower to do with being white They wayside blue and innocent heal-all?” Heal-alls are usually a very organic, pretty blue, but Frost’s is a delicate white. Had this anomaly not existed, would the moth had gotten caught in the web? “What brought the kindred spider to that height Then steered the white moth thither in the night?” The death of the moth at this moment that is described in the poem is contingent on the incongruities and events that occurred previously.
Death is inescapable; whether or not we avoid discussing mortality, we all know that it will eventually come. The 2 different perspectives of Thomas and Frost in their respective literary pieces give rise to the question: Is death the end? Frost would say that life and death parts of a cycle rather than a beginning and end. For Thomas, death signifies the end. Despite these differences, they both agree that the timing of one’s passing is something that can be examined with query. Why is the timing of such importance? It is because fate, something that is uncontrollable, determines when we will pass. Fate dominates all of our lives, even when we do not think about it and that is a much daunting subject than death.
Monday, April 27, 2009
Monday, April 20, 2009
A conversation between Frost and Thomas
“Death? Why this fuss about death? Use your imagination, try to visualize a world without death! ... Death is the essential condition of life, not an evil.” Frost’s Design supports Charlotte Perkins Gilman’s statement about death. Both see death as a fundamental part of life, not as the end to existence. Thomas’s Do Not Go Gentle Into That Good Night portrays death as the termination of life and something to be avoided as long as possible, though it is inevitable. These opposing speak to the arguable purpose of death. Death in the inescapable end that awaits all of us, but according to Thomas it’s only function is to conclude life, while Frost represents death as the only means by which life can exist.
Both poems use imagery of light against a black background to signify death and life. Frost speaks of a “Dimpled spider, fat and white” against the blackness of the night. The moth becomes stuck in the web of the spider, where it struggles to break free. Both the moth and the spider are both white, but in this scene the spider is bringing the moth to its death. The spider is only doing what it needs to what it was designed to do. Without the death of the moth, the spider would not be able to live and so the chain continues throughout the ecosystem. Even though the moth is gone, its presence is seen I the life of the spider. Thomas uses similar imagery of light against darkness, such as with “Blind eyes could blaze like meteors…”. This glowing image of a meteor represents life, which is fleeting into the darkness. Unlike the moth in Frosts’ poem, the meteor once it is gone can no longer be seen and it’s existence is over and forgotten.
The diction in both of the poems also suggests each author’s differing ideas about the purpose of death. Thomas uses active, lively words such as danced and gay to represent life. Night and end are more passive and dark words are used to symbolize death. Thomas also uses words that evoke an emotional response to pair emotions with life and death. “Rage, rage against the dying of the light.” Rage induces feelings of anger and fury, which is associated with death. “Their frail deeds might have danced in a green bay” correlates the word dance with life, which brings to mind feelings of freedom and joy. These contrasting emotions highlight the disparity between life and death. Frost uses diction to blur the distinction between life and death. “A snow-drop spider, a flower like a froth.” The flower represents the web in which the moth becomes stuck. Flowers are usually associated with delight and innocence, but Frost says the flower is like a froth (from a witches brew) which is usually connected with evilness. This obscures the purpose of the web, whether is it malevolent because it kills the moth or constructive because it allows the spider to live and eat and this obscures the purpose of death as meant by Frost.
Both poems use imagery of light against a black background to signify death and life. Frost speaks of a “Dimpled spider, fat and white” against the blackness of the night. The moth becomes stuck in the web of the spider, where it struggles to break free. Both the moth and the spider are both white, but in this scene the spider is bringing the moth to its death. The spider is only doing what it needs to what it was designed to do. Without the death of the moth, the spider would not be able to live and so the chain continues throughout the ecosystem. Even though the moth is gone, its presence is seen I the life of the spider. Thomas uses similar imagery of light against darkness, such as with “Blind eyes could blaze like meteors…”. This glowing image of a meteor represents life, which is fleeting into the darkness. Unlike the moth in Frosts’ poem, the meteor once it is gone can no longer be seen and it’s existence is over and forgotten.
The diction in both of the poems also suggests each author’s differing ideas about the purpose of death. Thomas uses active, lively words such as danced and gay to represent life. Night and end are more passive and dark words are used to symbolize death. Thomas also uses words that evoke an emotional response to pair emotions with life and death. “Rage, rage against the dying of the light.” Rage induces feelings of anger and fury, which is associated with death. “Their frail deeds might have danced in a green bay” correlates the word dance with life, which brings to mind feelings of freedom and joy. These contrasting emotions highlight the disparity between life and death. Frost uses diction to blur the distinction between life and death. “A snow-drop spider, a flower like a froth.” The flower represents the web in which the moth becomes stuck. Flowers are usually associated with delight and innocence, but Frost says the flower is like a froth (from a witches brew) which is usually connected with evilness. This obscures the purpose of the web, whether is it malevolent because it kills the moth or constructive because it allows the spider to live and eat and this obscures the purpose of death as meant by Frost.
Wednesday, April 15, 2009
Villanelle
The Battle
It may be a race, but it feels like war
My legs drive, my hand grips
Then the coxswain yells “I want more”.
With the splash of my oar
Through the rough water it rips
It may be a race, but it feels like war
As a single unit, exploiting our core
We push into the wind that whips
Then the coxswain yells “I want more”.
With raw strength, collectively the blades soar
Painfully we pull and the shell zips
It may be a race, but it feels like war
With nothing left, it ends with a roar
Exhausted, breaths escape my lips
Then the coxswain yells “I want more”.
Muscles fatigued, tomorrow we will be sore
We come to a stop, the speed dips
It may be a race, but it feels like war
Then the coxswain yells “I want more”.
It may be a race, but it feels like war
My legs drive, my hand grips
Then the coxswain yells “I want more”.
With the splash of my oar
Through the rough water it rips
It may be a race, but it feels like war
As a single unit, exploiting our core
We push into the wind that whips
Then the coxswain yells “I want more”.
With raw strength, collectively the blades soar
Painfully we pull and the shell zips
It may be a race, but it feels like war
With nothing left, it ends with a roar
Exhausted, breaths escape my lips
Then the coxswain yells “I want more”.
Muscles fatigued, tomorrow we will be sore
We come to a stop, the speed dips
It may be a race, but it feels like war
Then the coxswain yells “I want more”.
Bruce Wayne
Let’s pretend for a moment that we don’t know who Bruce Wayne or Batman is and read Bucky Sinister’s “The Other Universe of Bruce Wayne.” We could deduce from the context of the poem that the lives of these two characters are backwards in this alternate universe and we would suspect that Bruce Wayne in real life must be a very successful and well put-together individual.
Now we read it with all the knowledge we have about this popular culture figure, Bruce Wayne, and the meaning of the poem to us is immediately altered. We know have a great deal of information about the character outside the context of the poem. Automatically an image of Bruce Wayne or Batman comes to mind, as well as his success, wealth, and heroic abilities. The reader now becomes more engaged and the poem seems more inviting. The reader is also more tuned into what is changed in this alternate universe that Sinister has created. The haves are now the have-nots and the heroes are now those who need to be saved. Sinister becomes the hero, saving Wayne from his loneliness and from his nightmare.Wayne is now poor, without the money to even sustain his drinking habit and Sinister has enough wealth to afford ’63 Lincoln. Since Batman is such a loved character and Sinister has destroyed him, Sinister becomes the villain.
The poem becomes more literary because there is more context provided to the reader and because words and sentences in the poem take on more meaning due to the popular culture knowledge about Batman. For example, in this universe his debilitating back problem in psychosomatic, while in the real world his mentality allows him to quickly recover from his injuries. “Psychosomatic” takes on new meaning and demonstrates the deeper meaning in the text.
Now we read it with all the knowledge we have about this popular culture figure, Bruce Wayne, and the meaning of the poem to us is immediately altered. We know have a great deal of information about the character outside the context of the poem. Automatically an image of Bruce Wayne or Batman comes to mind, as well as his success, wealth, and heroic abilities. The reader now becomes more engaged and the poem seems more inviting. The reader is also more tuned into what is changed in this alternate universe that Sinister has created. The haves are now the have-nots and the heroes are now those who need to be saved. Sinister becomes the hero, saving Wayne from his loneliness and from his nightmare.Wayne is now poor, without the money to even sustain his drinking habit and Sinister has enough wealth to afford ’63 Lincoln. Since Batman is such a loved character and Sinister has destroyed him, Sinister becomes the villain.
The poem becomes more literary because there is more context provided to the reader and because words and sentences in the poem take on more meaning due to the popular culture knowledge about Batman. For example, in this universe his debilitating back problem in psychosomatic, while in the real world his mentality allows him to quickly recover from his injuries. “Psychosomatic” takes on new meaning and demonstrates the deeper meaning in the text.
Wednesday, April 8, 2009
Emily Dickinson “I Dwell in Possibility”
I believe that Dickinson is discussing the remarkable abilities of the imagination in “I Dwell in Possibility.” In the first line, which is also the title of the poem, “possibility” represents imagination. Both imagination and possibility are open-ended and don’t have boundaries. “Prose” in line 2 suggests that she could be referring to imagination accompanying writing. Poetry in particular requires imagination and is more inventive and artistic than prose. In this “House” of imagination, there are more windows because they are transparent and allow us to view whatever we can conceive. Doors do not exist because they are opaque and are “Impregnable of eye.” As for the roof, there is none because the imagination is endless and so only the infinite sky is an appropriate roof.
The final stanza supports my earlier idea that Dickinson could be referring to imagination as used in poetry or artistic writing. “Visitors” could be those who read her work or any poetry and are therefore experiencing her imagination. The final two lines, in concert with “occupation” in the line above support my thought that she is speaking about writing. A writer “spreads her hands” and gathers anything that she can invent, envision, or suppose and presents it to the world. Adding all the words and ideas together is “To gathering Paradise,” as Dickinson writes.
The numerous dashes in the poem could have many purposes and meanings. In my first reading, I unconsciously used the dashes as pauses. This can slow down the speed of the poem, and change the rhythm. I also found myself, after several reads, inserting words into the dashed area to complete a thought or to make the broken lines similar to sentences. This allows the reader to change the poem slightly, which can alter the meaning and follows the imaginative theme of the piece.
The final stanza supports my earlier idea that Dickinson could be referring to imagination as used in poetry or artistic writing. “Visitors” could be those who read her work or any poetry and are therefore experiencing her imagination. The final two lines, in concert with “occupation” in the line above support my thought that she is speaking about writing. A writer “spreads her hands” and gathers anything that she can invent, envision, or suppose and presents it to the world. Adding all the words and ideas together is “To gathering Paradise,” as Dickinson writes.
The numerous dashes in the poem could have many purposes and meanings. In my first reading, I unconsciously used the dashes as pauses. This can slow down the speed of the poem, and change the rhythm. I also found myself, after several reads, inserting words into the dashed area to complete a thought or to make the broken lines similar to sentences. This allows the reader to change the poem slightly, which can alter the meaning and follows the imaginative theme of the piece.
Monday, April 6, 2009
Design by Robert Frost
White heal-alls, a moth with white “rigid satin cloth” wings, and a white spider are all images proposed by frost in contrast with representations and of darkness, such as bight and a witches’ broth. Images of both are repeated throughout the short poem to show the contrast between the exterior of creatures and elements of nature, and their purpose or function.
The petite white images, possibly portraying innocence, are distinguished from the figures of darkness representing death. Frost makes these distinctions to draw attention to the scene in which the white moth is trapped in the web of the “dimpled spider, fat and white.” The spider had the natural ability to create beautiful, exquisite web designs, which is alluded to by the beauty of the “white heal-all. The purpose of the web however is arguably not as striking. The dark, deathly images represent the “design of darkness” that is the spiders web. The contrast between the visual beauty and the purpose of the web is what Frost is drawing attention to through the contrasting imagery.
The stunning heal-all is “blue and innocent” and another image of beauty. The moth becomes trapped in the web within the flower because the splendor of the flower drew the moth close. The flower is now a “witches’ broth,” which the moth can desperately try to detach itself from the grasp of the web, but ultimately cannot escape.
Frost also uses contrasting imagery to illustrate the disparity between the spider’s appearance and “design.” The small white spider is seemingly harmless like the moth; both are the color of purity and very little. Unlike the moth, the spider’s appearance is very deceiving much like the web it weaves. It is actually a predator and waits for it’s prey to be tempted by it’s illustrious web.
White heal-alls, a moth with white “rigid satin cloth” wings, and a white spider are all images proposed by frost in contrast with representations and of darkness, such as bight and a witches’ broth. Images of both are repeated throughout the short poem to show the contrast between the exterior of creatures and elements of nature, and their purpose or function.
The petite white images, possibly portraying innocence, are distinguished from the figures of darkness representing death. Frost makes these distinctions to draw attention to the scene in which the white moth is trapped in the web of the “dimpled spider, fat and white.” The spider had the natural ability to create beautiful, exquisite web designs, which is alluded to by the beauty of the “white heal-all. The purpose of the web however is arguably not as striking. The dark, deathly images represent the “design of darkness” that is the spiders web. The contrast between the visual beauty and the purpose of the web is what Frost is drawing attention to through the contrasting imagery.
The stunning heal-all is “blue and innocent” and another image of beauty. The moth becomes trapped in the web within the flower because the splendor of the flower drew the moth close. The flower is now a “witches’ broth,” which the moth can desperately try to detach itself from the grasp of the web, but ultimately cannot escape.
Frost also uses contrasting imagery to illustrate the disparity between the spider’s appearance and “design.” The small white spider is seemingly harmless like the moth; both are the color of purity and very little. Unlike the moth, the spider’s appearance is very deceiving much like the web it weaves. It is actually a predator and waits for it’s prey to be tempted by it’s illustrious web.
Wednesday, April 1, 2009
My Blog Title (assignment #1)
Do you prefer the morning or the evening, oranges or orange juice, swimming in the ocean or swimming in a pool (or not swimming at all)? Such trivial and inconsequential questions I believe allow insight into someone’s personality and mind more than customary questions posed when people first meet. A new friend posed a similar question to me a few days ago. I was hesitant to answer, not because I didn’t know what my answer would be, but because I was unsure why I was being asked this question. After I answered with obvious uncertainty in my voice, my friend explained her reasoning for the curious question. She said that she has found that it was a question that she asked everyone when she meets them because she believes the answer represented someone’s personality.
So, to introduce myself, I have posed a question for me to answer: Are you a dog-person or a cat-person? My answer: I am definitely a dog-person. I believe my answer shows that I appreciate the characteristics of dogs, and also posses several canine- like traits, such as loyalty, athleticism, and compassion. If you are to learn nothing more about me, at least I know that you know that I am indeed a dog-person and I hope that gives you a little insight about me. (Consequently, I hope that you are a dog-person so that the only thing you know about me doesn’t make you dislike me.) As obscure as my title may seem, it is very representative of me and that is exactly what I want my blog title to be.
So, to introduce myself, I have posed a question for me to answer: Are you a dog-person or a cat-person? My answer: I am definitely a dog-person. I believe my answer shows that I appreciate the characteristics of dogs, and also posses several canine- like traits, such as loyalty, athleticism, and compassion. If you are to learn nothing more about me, at least I know that you know that I am indeed a dog-person and I hope that gives you a little insight about me. (Consequently, I hope that you are a dog-person so that the only thing you know about me doesn’t make you dislike me.) As obscure as my title may seem, it is very representative of me and that is exactly what I want my blog title to be.
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