No Ultimate Message in Do Not Go Gentle Into That Good Night by Dylan Thomas

All times, the disappearance of cherishable beings brings people unbearable agony. Eventually, they cry, and then suffer more heartache, yet the attitudes when confronting a farewell vary dynamically within individuals. In Dylan Thomas’ “Do Not Go Gentle into that Good Night” and Elizabeth Bishop’s “One Art”, both speakers experience a painful loss. However, while Thomas strongly opposes the undeniable fact of his father’s death process, Bishop reluctantly accepts the departure of her beloved. The two speakers react differently to recover from the ineluctable sadness, to regain inner peace. In the end, the poems’ comparison concludes losing valued relations is distressingly unavoidable, and that there is no ideal way to cope with losses. Therefore,

The tone of the poem changes as the poem progresses. The poem begins with energetic language like “full of heroic tales” and “by a mere swing to his shoulder”. The composer also uses hyperboles like “My father began as a god” and “lifted me to heaven”. The use of this positive language indicates to the responder that the composer is longing for those days – he is nostalgic. It also highlights the perspective of a typical child. The language used in the middle of the poem is highly critical of his father: “A foolish small old man”. This highlights the perspective of a typical teenager and signifies that they have generally conflicting views. The language used in the last section of the poem is more loving and emotional than the rest: “...revealing virtues such as honesty, generosity, integrity”. This draws attention to a mature adult’s perspective.

In Dylan Thomas' "Do Not Go Gentle Into That Good Night," the speaker is a son talking to his aging father and pleading with him to fight against death. The son knows that death is the inevitable end to every life, but feels one should not give up to death too easily. By using metaphor, imagery, and repetition, Thomas reinforces the son's message that aging men see their lives with sudden clarity and realize how they might have lived happier, more productive lives. These men rail against fate, fighting for more time to set things right.

Here is a discussion of how the sound and metrics of the poem help convey that meaning. In the face of strong emotion, the poet sets himself the task of mastering it in difficult form of villanelle. Five tercets are followed by a quatrain, with the first and last line of stanza repeated alternately as the last line of the subsequent stanzas and gathered into a couplet at the end of the quatrain. And all this on only two rhymes. His villanelle repeates the theme of living and fury through the most forceful two lines, "do not go gentle into that good night," and "rage, rage against the dying of the light." Thomas further compounds his difficulty by having each line

“Do Not Go Gentle into that Good Night”s tone is urgent and fearful. The author uses a villanelle form to describe his poem. Thomas passionately discusses not to let death take over, to “Rage, rage against the dying of the light,”

The first stanza is addressed to ‘old men’ and how they should not simply slip away and die quietly, they should fight death until the end. Poetic techniques

When reviewing the work of Dylan Thomas, one can see that he changes his style of language, such as using metaphors and imagery, to fit each poem accordingly. In the poems, "Do Not Go Gentle into that Good Night," and "Fern Hill," which are the poems I will be looking at in this presentation, he uses different techniques and language to make each poem more effective to the reader. I have chosen these works because they are his most well known, I shall start off by reading the poem “Do Not Go Gentle…” even if it was written after Fern Hill, as it is the most famous of all his works. "Do Not Go Gentle into that Good Night" is addressed to Thomas' father, giving him advice

. . should burn and rave at the close of day”(2). This means that old men should fight when they are dying and their age should not prevent them from resisting death. Another example of personification in the poem is “Their frail deeds might have danced in a green bay”(8). This line personifies the men’s frail deeds by saying that they could have danced. This means that the potential actions of the men could have flourished and contributed greatly to their lives. The metaphor “. . . words had forked no lightning. . .”(5) is about how the men had done nothing significant with their lives. They had not achieved anything great or caused a major change. The simile “Blind eyes could blaze like meteors and be gay” is about how even grave and serious men will fight against death for as long as they can. Another notable example of figurative language within the poem is “. . . blinding sight”(13). This oxymoron details how the men can see very well and it is very obvious to them that they will die soon, but they know that they can control how they will leave this world. There is an abundance of imagery within this poem, a few examples of which are “. . . danced in a green bay”(8), and “. . . caught and sang the sun in flight”(10) . These examples of imagery are both appealing to the sense of sight by using descriptive words such as “Green” and “danced” in the first example and words such as “caught” and “flight” among others. The second example also appeals to the sense of sound by

Contrary to Frost?s peaceful, luring diction and images, Dylan Thomas uses forceful, irate words to deter death. "No poet gives a greater sense of the feel of life" as Thomas, who provokes the reader to "rage" against death (Ackerman 407). Thomas conveys a resistance towards death with images of fury and fighting, as in "do not go gentle." Vivacious words as "blaze" and "burn" intensify desires to live on and to the fullest. With images of "good night" and "dying of the light," Thomas conveys death as the "end where only darkness prevails" (Savage 381). He takes his "stand within concrete, particular existence, he places birth and death at the poles of his vision" (Savage 381). "Life [for Thomas] begins at birth and ceases at death" therefore leaving no room for a previous life or an after life (Savage 381). Excessive images of anger and rage towards death exemplify the passion Thomas feels for life. His villanelle repeats the theme of living and fury through the most forceful two lines, "do not go gentle into that good night" and "rage, rage against the dying of the light." Contrasting images of light and darkness in the poem create the warmth of living and the coldness in death, so as to shun people from choosing the bleak, bitter frigidity of death.

In comparing Dylan Thomas and Elizabeth Bishop’s meditation on the relevance of the poet, it is pertinent to use a sequential analysis of the two poems hereby discussed. Bishop’s “One Art” may be the result of a careful development of Thomas’ “Do not Go to Gentle Into That Good Night,” in which she explores her capacity to critique a poet’s speaker with a subtlety that scholars and students may find almost impossible to decipher. In this rather experimental essay, layers of her expertism are expounded through the deceptive figure of the mother whose mention is covertly present.

The cycle of life always ends in death, but the frightful aspect of death is not necessarily death itself, but the concept of timing. Mark Twain states that “The fear of death follows from the fear of life. A man who lives fully is prepared to die anytime” which means people’s fear of dying stems from their fear of living, and this frightful emotion takes over people’s lives and prevents them from living each day like it is their last. This fear prevents many from taking action on their dreams and ambitions which inevitably is giving one’s life up too quickly. Dylan Thomas, a famous contemporary author, believes existence is taken advantage of and when one’s existence is threatened, most people are too quick to give up. In Thomas’s “Do

“Do Not Go Gentle into the Night” was written by Dylan Thomas in the year 1945 when his father was seriously sick. The main theme in this poem is a protest beside the idea of accepting death quietly. This is a type of villanelle poem. It usually expressed patrolman well as idyllic feelings in imitation of Italian villanelle. For instance it should six stanzas and the first five stanzas should have three lines and the last stanza should have four stanzas. The first and the last line in the first stanza must be repeated in other stanzas for instance the first line Do not go gentle into that good night is repeated in all other stanzas and also Rage, rage against the dying of the light which is the third line in the first stanza and is also repeated in all the other stanzas (Popp, Harold, 35). Moreover, the poet used many symbolism to represent death, “Night” is a symbol of death. “close of day” symbolizes forthcoming death. “Sad height” symbolizes closeness of death.

Throughout the poem, Thomas relates the passing of a day to a lifetime. He refers to death as ‘that good night’ and ‘the dying of the light’ repeatedly. This metaphor shows the inevitability of death, in the same way that the end of each day is inevitable. Additionally, this metaphor comes at the end of the last line of each stanza, making the form imitate the ‘good night’ coming at the end of the day and death at the end of life. Despite this acknowledgement of the assuredness of death, Thomas insists that ‘old age’, a use of metonymy to represent the elderly, should ‘burn and rave at close of day’. Burning

In comparing Dylan Thomas and Elizabeth Bishop’s meditation on the relevance of the poet, it is pertinent to use a sequential analysis of the two poems hereby discussed. Bishop’s “One Art” is the result of a careful development of Thomas’ “Do not Go to Gentle Into That Good Night,” in which she explores her capacity to critique a poet’s speaker with a subtlety that scholars and students may find almost impossible to decipher. In this, rather experimental essay, layers of her expertism are expounded through the deceptive figure of the mother whose mention is covertly present.

Firstly, he uses the phrase “danced in a green bay”. In this sentence, he describes the bay as green which, when you think literally instead of figuratively, sets a weird sight for the eyes, as bays are blue. However, the “green” is referring to life all around us and so when he says “danced” he is referring to living, and “green bay” means a world full of life. He is once again using vivid descriptive language to depict a desirable world, and a wonderful sight: a place that’s worth fighting and persevering to stay in. Secondly, he uses the phrase “Blind eyes could blaze like meteors”. In this sentence, “blind eyes” is referring to weakness, or disease, and when he finishes the simile by saying, “blaze like meteors”, he is referring to going out with a bang, or continuing to fight. The phrase seems to be referring to sight, as it uses the word “eyes” but, actually, it is referring to the feeling and the touch of continuing to live - really live life. This directly relates to the theme because he seems to be saying that even in his father’s weakened state, he can continue to persevere; continue to fight for his life, or else go out with a bang. The author of this poem uses very descriptive imagery to make the reader, or his father want to keep fighting to live in this wonderful