Relationships with the Dead in Wordsworth's We Are Seven and Hardy's Digging

Loss of a loved one and the stages of mourning or grief manifest as overriding themes in The Lovely Bones. Through the voice of Susie Salmon, the fourteen-year-old narrator of the novel, readers get an in-depth look at the grieving process. Susie focuses more on the aftermath and effects of her murder and rape on her family rather than on the event itself. She watches her parents and sister move through the five stages of grief: denial, anger, bargaining, depression, and acceptance. However, Alice Sebold makes clear that these categories do not necessarily remain rigid and that individuals deal with grief in various ways. For example, Abigail, Susie's mother, withdraws from her living children,

In the novel The Dead, Gabriel Conroy, who is the nephew of Julia and Kate Morkan, is the main character of the story. One night he and his wife attended a party, which was given by his two aunts, and there were many other members in the party. The story revolves around their life and memories.Gabriel Conroy felt a blur between his soul and the dead. Some people died, but they are still alive because they have true love. Some people are alive, but they are still dead because they never love.I like the story for three reasons.

The weather, ever-changing and which humans are at the mercy of, plays a central role in Trethewey expressing instances of grief that are both personal and collective in regards to black Americans. In part one of Native Guard, the poem “Photograph: Ice Storm, 1971” is set after a severe snow storm falls upon the place where Trethewey lived in her youth. Much of the poem is structured by a contrast between the inside of a physical house and the icy environment outside, as evident in stanza two and three: “the storm… drives us inside / for days, power lines down, food rotting / in the refrigerator, while outside the landscape glistens beneath a glaze / of ice” (Trethewey 10). The imagery of the “power lines down” and “food rotting” establish the home’s interior as being an undesirable place to be, while in opposition, the exterior “glistens beneath a glaze of ice.” Knowing the tragic events that have occurred in Trethewey’s life, the ice storm here serves

In the poem, the little girl says, “Two of us in the church-yard lie, / My sister and my brother; (Lines 21-22).” Insisting that they are still seven, the young girl shows a lot of grace and mature understanding. This is the majority of the poem because the narrator thinks it is most important that the young girl understands she has still has five siblings, despite two of them have passed and, “their graves are green, they may be seen (Line 37).” The girl is only eight years of age and she understands that her deceased siblings are still her siblings even though they are not still living. Making sure she understands she still has five siblings is exactly what the narrator’s goal is, but the narrator is pretending to believe they are only five. The narrator reinforces his “belief” in lines 35-36: “If two are in the church-yard laid,/ Then ye are only five.” The conversation resurfaces later in the poem, in lines 61-64: “How many are you, then, said I,/ If they two are in heaven?/ Quick was the little Maid’s reply,/ O Master! We are seven.” No matter what is said by the narrator, the eight year old girl insists that they are seven. Two siblings being dead is the most reinforced because the narrator and the little girl know that her siblings at Conway or at sea are anticipated to return home sometime. The other two, the deceased two, will never return home.

This poem talks about nature and death. William Cullen Bryant shares that nature can make death less painful. He says that when we start to think about death, we should go outside, and look around and listen to the natural earth sounds. This is supposed to remind us that when we die, we will mix back into the earth. The poem tells us that when we die, we will not be alone. We will be with every other person that has ever been buried, In the ground, which in this poem is called the “great tomb of man”. It also tells us that even those that are still living will soon die and join in the great tomb of man. This poem is meant to comfort those that are afraid of dying and death in general. At the end of the poem, we are told to think of death as

There are two main themes that are continually being presented throughout the novel “The Lovely Bones”, these themes are grief and hope. This essay will analyze how different individuals from the Salmon family cope with the death of a family member and their way of going forward with their lives.

In Patricia Engle’s review of Emily Dickinson’s poem “Because I Could Not Stop For Death”, Engle argues that Dickinson’s poem employs Death as a lover who takes whomever is reading the poem to “heaven”, if you will. She also posits the idea that our eventual death is just a state of mind and we do not all follow the same path to reach Death. The poem, at its core, is about the visceral fear of Death and not wanting to die. I disagree with Engle’s assessment. Engle’s take on Dickinson’s poem is an inaccurate one because it explains that Dickinson does not seem to be afraid of death, that Dickinson is very spiritually aware and even accepting of her eventual fate, and that Dickinson, or the speaker of the poem, has accepted death so he has “stopped” for her.

First, Emily Dickinson’s poetry1 continuously rejected society’s perception of death. As death approaches, the one entering eternity and those nearby are often scared

Almost everybody who falls in love may think that they will be the same person as they were before meeting someone and putting then into your life. That as a matter of fact is very different. You may not know your real you when loving and caring so much about someone. There are many things to think about whenever you find your loved one. For example, their past friends, their past life , and actions. The author of this story “The Dead” makes us reveal various aspects of Gabriel’s character by using imagery, point of view, and diction.

Regardless of race, caste, religion, or age, every human has wondered about the one fact of life that unifies us all: What is death? Both poems, “Death of a Young Son by Drowning” by Margaret Atwood and “Because I could Not Stop for Death” by Emily Dickinson share a common subject of death. Using figurative language, both poems illustrate distinct takes on a similar topic.

Bryant uses phrases such as “stern agony,” “breathless darkness,” “eternal resting place,” and “silent halls of death” to strike fear in the reader. These various phrases also apply a crucial tone to the poem. Death is a dark and distressing part of life. “The all-beholding sun shall see no more / in all his course.” (171). In these lines Bryant states that once man is complete with his course of life, he will no longer see light. This known fact raids a sense of fear of death. This next quotation states that people who die and buried will end in the same burial place, which is the ground. “Thou shalt lie down / with patriarchs of the infant world-with kings, / the powerful of the earth-the wise, the good, / fair forms, and hoary seers of ages past, / all in one might sepulcher.” As previously stated, Bryant describes all people as equals. He states that everyone has the same burial place. The ground is the place all dead bodies proceed to after death. The visual form of these words arouses a sense of sadness. Throughout the poem Bryant changes the tone to state although death is a dark part of life people should enjoy life until death calls them. “So live, that when thy summons come to join / the innumerable caravan.” (172). This line supports the point of living life until death calls. Throughout the poem, Bryant uses pathos to elaborate on the elements of death.

This grand story takes set in Germany World War II, with death himself being the narrator. As the story goes he talks about collecting souls and how he envy’s the living, for we can die and he cannot. But one night he takes special interest in one human, which would be Liesel Meminger. This all started the night Liesel and her brother Werner were to be shipped off to a family in Germany (Liesel was 9 years old at the time and her brother 6). They were being sent away because their parents were suspected to be communists. That sort of thing wasn’t allowed at least not during World War II. But on their journey Liesel’s brother dies. That is the first time death takes notice of Liesel. At the funeral of Werner’s death Liesel steals her first book, The Grave Digger’s Handbook, it was accidently dropped by a cemetery worker. That was when death labeled her “the book thief”. During the course of the story she keeps her nickname, for she steals several other stories, which her papa shows her how to read with them.

I would place The Graveyard by Neil Galman in Frye’s schema of satire. Frye has four schema’s that make up his archetypes. Comedic and Romantic come under Comedy and Tragic and Satire come under Tragedy. I believe that the graveyard comes under the satiric (ironic) branch of Frye’s theory. This is because the book’s premise is based on an ironic concept. The main character Jack murders all the members of the Dorian Family except the toddler. This toddlers somehow leaves with Jack as he travels back to the graveyard. Here the toddlers is met by various different demonic creatures. There is a werewolf, a vampire, a ghost just to name a few. These creatures then proceed to raise the toddlers in the graveyard. It’s ironic that the toddler is raised

She suggests in the poem that it isn’t fair that the speaker gets to live, but this woman must die. This is presented in the third stanza when the speaker says,” And rooms were those to be alive, tomorrow were, a blame.” In the seventh stanza, the author in whole describes the amount of respect they have for their friend, carefully placing her head, and making the body look comfortable, and all in all hoping to make the death appear as peaceful as possible. This idea of respect can be related to guilt as for she is upset and feels guilty for why the speaker gets to live, and the only way to repay this guilt is to be as gentle and respectful to the woman’s last moments.

Losing a loved one can be such a difficult thing to accept. But what if you kept believing she was still there? Definitely not in body, but lingering in spirit. In The Lovely Bones, by Alice Sebold, we dive into the mind of Susie Salmon; a 14 year old, dead girl. When Susie Salmon is murdered on her way home from school, she leaves behind a family and friends who care deeply for her. As each person deals with her death, most of them deal with a large amount of survivor’s guilt. The two characters that seem to have the hardest time accepting Susie’s death and their own survival are Lindsey Salmon and Ruth Connors. Lindsey deals not only with the