Comparing 'Out And A Man Said To The Universe'

The ethical life of the poem, then, depends upon the propositions that evil. . . that is part of this life is too much for the preeminent man. . . .  that after all our efforts doom is there for all of us” (48).

The two poems are similar in their corresponding feeling of dread for death. Using diction,

However, the poem has fluidity despite its apparent scarcity of rhyme. After examining the alteration of syllables in each line, a pattern is revealed in this poem concerning darkness. The first nine lines alternate between 8 and 6 syllables. These lines are concerned, as any narrative is, with exposition. These lines set up darkness as an internal conflict to come. The conflict intensifies in lines 10 and 11 as we are bombarded by an explosion of 8 syllables in each line. These lines present the conflict within one's own mind at its most desperate. After this climax, the syllables in the last nine lines resolve the conflict presented. In these lines, Dickinson presents us with an archetypal figure that is faced with a conflict: the “bravest” hero. These lines present the resolution in lines that alternate between 6 and 7 syllables. Just as the syllables decrease, the falling action presents us with a final insight. This insight discusses how darkness is an insurmountable entity that, like the hero, we must face to continue “straight” through “Life” (line 20).

poem, that one's eternal resting place could never have been thought of as such a

In the first poem, “This Hour and What Is Dead”, there is a structure of eight lines, two lines, one, eight, two, and one. This structure increases the effect made by the lines of two and one, which are both very important to the verse. Through this structure, “Someone should tell him he should sleep now.” (“This Hour and What is Dead) becomes one of the most important lines in the literature. In “Visions And Interpretations”, however, the lines continually get shorter, from four stanzas of four lines each, to four stanzas of three lines, to finally four stanzas, at two lines each.

The second stanza is addressed to ‘wise men’ who know they cannot hide from death and it’s inevitability. Poetic techniques used in this stanza are metaphors, rhyme, symbols and repetition. The line “words had forked no lightning” is a metaphor because words cannot actually fork lightning. This line suggests that the men hadn’t made an impact on the world, nor accomplished all they wanted to in life. Rhyming is also a technique used in every line, ‘right’ and ‘night’ are rhyming words used, and ‘they’ in the second line rhymes with ‘day’ in the previous stanza. So ‘night’, ‘light’ and ‘right’ rhyme, and ‘day’ and ‘they’ rhyme, hence the ABA ABA rhyming pattern. The third poetic device used in the second stanza is symbolism of ‘dark’ in the first line, which represents death. Repetition of “do not go gentle into that good night” is repeated every second stanza as the ending line, ‘night’ in the final line also symbolises death.

The second is the plain content of the statement and the fact that it is followed by “Do not weep. War is kind” (15-16). This is now the second time that the reader has come across this statement and because of this, the reader begins to recognize that the speaker is indeed trying to be ironic in the work. The reader notices that the speaker in the poem is now stating that “War is kind” but is not backing up his statement with facts. The speaker is actually making a case for those that are instead opposed to war.

The poem opens with the speaker describing the cliche end of the world scene all apocalyptic movies are based on which introduces the reader to Collin's continual use of vivid imagery. His description of a cinematic ending to life as we know it is a perfect example of the romanticism the speaker believes is put on everything in order to lessen the pain. The speakers more realistic prediction of how the world will reach its demise includes “a black tarpaulin... {and} a hand crumple{ing} the cosmos into a paper ball” ( 17).

He also used personification when he said “’However’, replied the universe, ‘the fact has not created in me a sense of obligation”. The universe does not feel obligated to acknowledge us. Both poems have the same meaning, but are giving them in two totally different ways!

Although both poems are dedicated to the god of love “Eros”,but their feelings towards Eros depicts him very differently. Bridges’s poem focuses on praising Ero’s purity, being the leader of the human race, speaking in a very innocence and naivety tone. However, Stevenson speaks down on the Eros in his poem because Eros has been abused by the human race in the way they love, giving the poem a very negative tone. The use in diction and imagery is used in both poems to help emphasize the difference in tone.

The Poem begins with a personification of death as "kindly" (3). By doing this, the speaker introduces a portrayal on death that might have conflictions. Most of the times, death has a negative connotation. Whether it is an inevitable or tragic view, it opposes to what is seen in the poem. The speaker accepts death as a friendly invitation when the time is right, rather than something that is bound to happen. The speaker then joins immortality, personified as a passenger in a carriage. Immortality simply cannot be a passenger as it is a non-living thing. The reasoning for this could be that immortality ties together the link between the speaker and death, ultimately introducing the voyage to come. The first stanza sets a precedent of a meter to follow throughout most of the poem. The first line contains eight

“To Brooklyn Bridge” was directly inspired by T.S. Eliot’s “The Wasteland” and Walt Whitman’s “Crossing Brooklyn Ferry,” but the poem itself does not contain words or phrases that directly correlate to those specific poets and their respective poems. Instead, the overall atmosphere of the poem may remind readers of Eliot and Whitman. First of all, once again according to the anthology, “To Brooklyn Bridge” is a hopeful reply to “The Wasteland,” where Eliot writes of a fractured world, a perspective Crane shares, but his response paints a more optimistic picture. Crane accomplishes this by “using the Brooklyn Bridge as its prime symbol… to restore meaning and unity to a fragmented and dissonant modern world” (Axelrod 626). The Bridge is a manmade effort that is capable of connecting the fragmented world. This hope is also reminiscent of Whitman’s ideas of an idealistic and unified America. Yet, a more significant influence from Whitman is the theme of repressed homosexuality that is present in the poem. With both poets being homosexual, it is no surprise that Crane was influenced by Whitman. The second to last stanza

The poem by T.S. Elliot, The Hollow Men and the novel by Joseph Conrad, Heart of Darkness represent both nonchalance and insouciance. Both Elliot's hollow men and Conrad's Station Manager present an insightful rationale and emotional indifference as well as being bereft of discernible humanity. The two pieces underscore the crucial characteristics of both the station manger and the hollow men by exaggerating the details of their empty eyes as well as "death's other kingdom," (III.8) of which they both reside in, their obscure characteristics and their emptiness.

Oblivion, is what we all seep into after death. In the poems “Out, out” and A Man Said to the Universe both flaunt this explicit action of humans in their own divergent accession. The poems each have a congruous subject, which is the inevitability of wanting to be known. The two poems can both be compared and contrasted with their sense of tone and theme.

“The relationship between the energies of the inquiring mind that an intelligent reader brings to the poem and the poem’s refusal to yield a single comprehensive interpretation enacts vividly the everlasting intercourse between the human mind, with its instinct to organise and harmonise, and the baffling powers of the universe about it.”