Nature detests movement, despises it; because movement means life has conquered nature and escaped

Meaning and significance of death in the light of the Christian narrative is addressed and shows a deep understanding, including a detailed description and many examples.

In “On Natural Death,” Thomas appeals to the readers by contemplating the subject of death with an academic approach that includes facts, data, and information. Thomas successfully transforms death from an awkward, emotional subject to a more comfortable intellectual one. This engages the readers by placing contemplation of death and dying within the confines of a more manageable and rational context. His gradual exhumation of death eases the audience into pondering the subject in the absence of emotional stress. The essay transitions from the death of an elm tree to that of a mouse. This is followed by Thomas giving a significant amount of attention to a scientific explanation of death, and then finally the description of the near death experience of a human. This use of an academic appeal moves the audience to a comfort zone with the subject of death and circumvents the common response of avoidance. The reader is simultaneously desensitized to the gravity of subject matter and given permission to consider death and dying without the normal societal negative stigma associated with the subject.

Everyone is destined for death from the second he or she is born. It seems dark, but living people are so busy prospering in their life, they cannot completely comprehend the idea of their own passing. With death comes the mysterious transition from life to death, which though is fated is incomprehensible. In Something Rich and Strange by Ron Rash, the story focuses on this mystery and how different people go about comprehending it. The literary elements are used to support and clarify the central idea of the complicated and intricate story. Story elements of symbolism and point of view in Something Rich and Strange further enhance and point to the theme.

The grieving that individuals experience with death is unique, but the main stages are universal across cultures (Axelrod, 2017). There are five stages of grief. Nicolas Wolterstorff’s story, Lament for a Son, addresses these five stages as he tries to find joy after the loss of his son. The meaning and significance of death in light of the Christian narrative is also addressed in the story. Having a hope of the resurrection can help comfort individuals in situations similar to Wolterstorff (Wolterstorff, 1978).

As I read the reading “death”, I can conclude that the main idea for this reading that the author wants his readers to believe that the death is not something scary. We all should not be afraid about the fact that our bodies will cease to exist after death.

Death is one of the most avoided topics because of the finality that comes with it and the fear of the unknown after death. However, there are quite a number of authors such as AtulGawande, Elisabeth Kubler-ross and Ira Byock who have attempted to go ahead and deal with death as a topic and other connected topics.Each of these authors have delved into one of the most revered topics that is death including related topics that come with it such as the dying process itself. Ira Byock’s Dying well: Peace and possibilities at the end of life is a book that looks at the moment prior to death when an individual is terminally sick and is at the point of death. A

By biological logic, we human beings will face death sooner or later in our life and death has its very own ways to approach us - a sudden deadly strike, a critical sickness, a tragic accident, a prolonged endurance of brutal treatment, or just an aging biological end. To deal with the prospect of death come different passive or active reactions; some may be scared and anxious to see death, some try to run away from it, and some by their own choice make death come faster. But Viktor Frankl, through his work Man’s Search for Meaning, and Bryan Doyle; in his essay “His Last Game” show us choices to confront the death, bring it to our deepest feelings, meaningful satisfaction. To me, the spirit of the prisoners at deadly concentration camps, Frankl’s Logotherapy theory of “. . . striving to find a meaning in one’s life is the primary motivational force in man.” (99), as well as the calmness of Doyle’s brother on his last ride, like an awaken bell, remind us of how precious life is, how we should find the significance in every act of living, determine to live a meaningful life at any circumstances; hence, when death comes, we can accept it without anxiety nor regrets.

There was once a man. He was a very lonely man. It wasn’t because he was alone, but rather that no one ever stayed. Everything was bounded to meet this man, and because of that he was shunned. Some called him death, and others the Reaper, but in the end it didn’t really matter what they called him, because once they would meet him, they would never think of him again. One day, the man felt extremely lonely. The rush of people he met capped over thousands, each one of them gave this man a feeling that filled his void, but never the less like all the others, they left and never gave the man a another thought. This upset the man more so than it had ever before, knowing that no matter how he acted towards the people, whether

Abstract The author’s perception and treatment of Everyman are that each individual need to prepare for it by repenting, following God, and doing good works. The author’s perception is that at the end of the day one cannot take anything or anyone with them when they die. The only entity someone can take is their actions and how they use the resources that are given to them. Those who put God before everything and perform good works will enjoy eternity with Him, but those who enjoy only the pleasures of life and forget God, will not. The author’s main message throughout the play is to not fearful of death but know that one day everyone will die, so do as much good as one can, repent of one’s sins, and to put God first. Keywords: author, perception, treatment, death The Author’s Perception and Treatment of Death in Everyman In the late fifteenth century, an unknown author wrote a morality play called Everyman. According to Pearson, a morality play during the Medieval period would communicate a moral lesson and make it so simple that both illiterate and well-educated audiences could both understand the lesson (Adu-Gyamfi, 2016). One may believe that the author of Everyman want to communicate to the audience that everyone will receive judgment the actions they commit on Earth. The author’s perception of death is that God is the only one who has the power to control when each individual die, so if one has a relationship with Him one should not be fearful death. The author

Without presenting the biological facts and the psychological process of the human in a textbook presentation, he successfully managed to represent the human condition in each of his vignettes in an entertaining format that appeals to any type of audience. Suitably, he made the content of the book as universal as possible by not limiting it to appeal to a specific religion, race, or culture. The stories are a product of his enormous imagination, regardless of his formal education about the brain’s functions. One type of afterlife describes that death has three phases. The first two phases deal with the body physically dying.

Countless works of literature have sentimentalized the house as a space of sanctuary; however, in time the house came to incorporate the mysterious also, as haunted houses allowed the supernatural to dwell alongside the living. Fictional narratives have long since utilized the house as a venue for character and situation to develop, dispersing opportunities for authors to bring symbolism and metaphor to their works. Julio Cortázar drew upon the house setting in his short stories “Bestiary” and “House Taken Over”, not just as a venue for his tales to play out, but as places that echoed the themes, character, and structure for the unusual could enter and abide. Cortázar’s treatment of the bizarre as a part of the natural family life of the house,

I slipped beneath the surface of the pool of grain, my hands sticking straight up over my head as I held my breath, preparing for death. I was preparing for the world to go silent. This was the exact situation my father had warned me about, and I had fallen victim to it despite that. Fourteen years old as of two months ago, and death had already come for me. Or so I thought. I felt firm, callused hands grasp my own, plucking me from my grave. The relief was wonderful. I drank the air in, filling my burning lungs with as much as possible. I almost laughed out of sheer happiness – until my eyes met my father’s.

The idea of death is one that has been thoroughly analyzed throughout literary history; its powerful presence in the lives of all humans is addressed with both fear and anxiety, yet it is still venerated as the greatest mystery mankind has ever faced. Great American author Joseph Heller invokes that very fear of death throughout his literary works, and focuses on man’s undeniable mortality, as well as his attempt to avoid the inevitable end. Heller draws upon both personal experience and his own overly-logical mentality towards the modern world while writing his novels, thus instilling his sarcastic and occasionally caustic tone through the voices of his characters. However, the overall theme of death is still prevalent throughout his novels, and its haunting presence reminds the reader of the tragic end to human life.

Worldwide the stories of what happens after a person comes back from the brink of death have fascinated people since time began. It appears there is so much more that we just don’t see. We see images in paintings, and some that are centuries old, all over the world of people and animals’ passing through what appears to be a tunnel hurling helplessly toward a bright light. Some paintings depicting death are angelic and beautiful and some range all the way to the macabre and bizarre. One thing that remains a constant in this depiction of “going toward the light” seems to be the stories that the people of recent times who have returned from the light bring back with them.

“I lay in Death’s arms; writhing in feverish pain, my stomach drawn tight from hunger. I talked with the Great Spirit and asked him to take me, to release me from my torment, but he said it was not my time. He said that I must learn to see, not with my eyes, but with my heart, my spirit within.