Grief Christina Rossettis Remember English Literature Essay

Losing someone dear can lead to grief, yet tenderness also. That is expressed in Christina Rossetti's 'Remember', where the persona is demanding to be remembered, grieving not no more than her death, but also the mental war her partner will have to go through. Precisely the same notion is expressed in D. H. Lawrence's 'Piano', where although recollections were positive, he's mortified through his unsuccessful attempt to confine his thoughts. This is also within "Mid-Term Rest" by Seamus Heaney, where in fact the persona is struck with confusion about the loss of his brother. Physical loss, as shown here, is simpler compared to the convoluted nonmaterial deficits, because not everyone will have to experience the sorrow of the death of someone you care about, whereas nonmaterial loss are inevitable.

Likewise, nonmaterial loss like the loss of love or the increased loss of childhood innocence also brings sorrow. This idea is reinforced by John Keats' "La Belle Dame sans Merci. A Ballad". Its subject is about the increased loss of love- how his "lover" experienced left him. This similar theme is mirrored in Countee Cullen's "Lack of Love": women are evil. Another part of this nonmaterial damage is childhood innocence. This yearning for the innocence is conveyed in Seamus Heaney's "Death of any Naturalist", in which the persona is transitioning from innocence to see.

Although the situations of the loss differ, all reduction, it seems, lead to the same end: feelings of grief, confusion, and even anger.

Physical loss of a loved one will bring grief, even it is ideal for oneself. Christina Rossetti's "Remember" effectively conveys the grief experienced in getting rid of someone; herself. Written getting close the finish of a long battle with tumor, Rossetti grieves for what her enthusiast will have to go through, when she passes away. Rossetti, although was from the Victorian Time, is a solid woman. At this time, women were cured powerless in comparison to men, but as she was mixed up in Pre-Raphaelites movements, we can see that she out drove social change. Due to her failed interactions, her freedom is shown by the critical "Remember me", that is repeated throughout the poem; emphasizing that she should be appreciated. As an Anglican, her words can be seen to be religious in nature, reinforced by "silent land". Using euphemism, she softens her nearly-lost struggle with cancer tumor, effectively conveying to the reader associated with an almost idealistic peaceful land. She also implies that this "silent land" is not so a long way away, creating a feeling of familiarity to the reader, showing to the ears. The effective repetition of "day by day" shows the time transferring, and creates a feeling of sacrificing time unwillingly. This is viewed as that she does not want to leave yet, but must, and that loss of life is merciless; supported by "It will. . . . pray". Rossetti seems to confine her feelings- flawlessly justifiable as she'd like to give the least pain to her enthusiast, and this is evident by means of the poem. Like a Victorian Sonnet, the framework is very rigorous, which it must be 10 syllables a brand, and must be developing of two quatrains followed by a six lined stanza. This idea of conceding to his joy is presented in the last stanza behaving as a Volta. As the 'sovereign' of the relationship, she gives him options that will do better for him, such as "forget and smile". This program distances her needs and highlights her lover's needs for shifting. This shows tenderness, and not possessiveness that once was shown. This process to theme of damage affects the one which makes one esteem Rossetti, as despite her hardships, she remained sensitive towards her fan- something we all could study from.

Similarly, in 'Piano', D. H. Lawrence experiences the mortifying part of damage: remembrance. The persona was abashed through the power of childhood stories of his mom that took on him- an unusual response towards a recollection. However, the persona's reaction towards the child years ram is justifiable due to the historical context- men were not to cry given any situation. D. H. Lawrence's clever use of lexis has shown that the persona's manhood has busted, as he "weep just like a child for the past". The successful simile of a child's weeping to the persona's loss softens the fact the persona has wept, making the reader show his/her sympathy towards him. Through the entire whole poem, it's the piano in a room which got sparked his youth stories to overwhelm his feelings. The piano, before his interior turmoil occurred, was searched as almost sensational - symbolized through its "tingling strings". However, the "boom of the tingling strings" create a far more cosmetic atmosphere; thus increasing the ambience of his past. The term "boom" has lots of connotations, but also provide as a compare to the soft sounding of the "tingling". This onomatopoeic expression advises many connotations, all therefore arriving to the same bottom line: magic-like. However, despite the pleasant remembrances the persona has, we can see that the persona is suffering in an interior turmoil- and hating the nostalgic recollections that overpower his thoughts. This memory activates the nostalgia deep within him, and shows the yearning to become younger boy again, wishing for his mother. Through this yearning, D. H. Lawrence shows the confusion of when his manhood was cast, combined with the anger that exists in the "clamor" of the 'sensational' piano. The piano was just an object that unleashed the yearning for his childhood- when he still had his mother. Although reaction to losing is quite contrasting to "Remember", they both reveal the commonality of the sense of wanting to confine thoughts. This reaction to the memories is exactly what I really believe as unnecessary. Nonetheless it can be justified as some remembrances can be powerful enough to break one down- even if you are a guy.

Likewise, Seamus Heaney's "Mid-Term Chance" also conveys the same subject matter of the consequence of physical reduction. The persona is within confusion of what had occurred to his more youthful brother. Heaney effectively conveys the confusion when he arrived home through the immediate explanations: "father crying" and "old men. . . my hand". It's been quoted that his father has "taken funerals in his stride", however he is met along with his father crying- indicating that something is wrong. To add to the confusion, when he enters the house, he sees arbitrary strangers, who come to tremble his hands. Although throughout the poem, Heaney starts to find out that the loss of life was of his sibling, but the question is; has he accepted it? The persona identifies his sibling, Christopher, as a "corpse", not ready to admit it is indeed, his brother that is based on the coffin. However, as the poem unravels itself, the persona is slowly but surely accepting the loss; identifying the "corpse" as his brother. The last affirmation that the coffin was "four foot long" shows the finality of the death- like the acceptance of the result of his brother. Analogous to the previous poems, 'Mid-Term Break's persona attempts to confine the feelings of problems about his brother through the standard stanzas. As a 12 time old boy residing in a traditional Irish family, it would be harder for him never to be upset about the situation as confusion overwhelms his feelings. Especially that his daddy was found crying, despite the strict objectives of the stereotypical male's role in a funeral, had shown Heaney's power to restrict himself from pouring out once he had comprehended the full history.

Loss of love or the child years innocence can also cause someone to be distressed. In "La Belle Dame sans Merci", John Keats explores the increased loss of love via a folk ballad. Keats, as an enchanting poet, conveys the common belief of the era that 'all women are evil'- a absurd assumption that people, women, wouldn't tolerate. However, the persona's belief is recognized through the content- a 'fan' had left him "only and palely loitering". "O. . . . . loitering?" is a question asked by the writer- purposely to generate the reader to spur fascination with the central personality- the knight-, in the emptiness. The final phrase of the first stanza: "No birds sing", is a contrasting brief sentence with objective to change the overall rhythm of the poem. Through this, it allures the reader in to the fate of something; naturally not known to the reader just yet, implying that an event unpleasant had occurred. The next stanza is something virtually identical, and is attained by using incremental repetition. This system repeats and stresses the question, until there is a change in narrator- from a bystander, to the central personality (knight); almost as though he was responding to the question. There is a repetition of the image of loss of life portrayed by nature. Evident set for a good example: "I see a lily". A lily is a symbol of death as it can be used in funerals, therefore foreshadowing the fate that would cause the knight to be distressed. A personification is dexterously used in "anguish. . . fever-dew", which creates an almost wet atmosphere, inducing sadness after the reader. However, as the poem progresses, the knight's storage area with the "faery" appear to be very pleasing- as each stanza starts with "I"- implicating that the knight is in control. Irony can be noticed in Stanza V, as there can be an emasculating image of him making "garland for her head" He's a knight, somebody who is considered as a strong 'innovator'. This concludes that the knight was definitely in love, thus as a result shedding control. The poem then requires a shift in control, to his enthusiast by using repetition of "She". However, most love does not last forever, as confirmed in stanza 8, as "she wept. . . sore", suggesting that he cannot be with the woman, then one must change-bringing us to the fate of the partnership. The final stanza is a duplicate of the first stanza, suggesting that love like this goes in a cycle. The increased loss of the love is shown through the desperation that the man is at, by himself and "loitering", demonstrating the problems that the person was at. The stanzas are consistent however, not even, recommending that Keats is confining his feelings- like the past poems. Keats's work shows the devastation he was going through when his better half Fanny Brawne left him, thus concluding that the loss of love brings problems among many.

Analogous to the idea that loss of love brings distress, Countee Cullen's "Lack of Love" highlights a similar tale. Cullen portrays how terribly he had fallen for his love, through by using a range of figurative language. A good example of this usage is present in "Orchard. . . berry". Cullen's shrewd use of a metaphor effectively conveys the wreck he was in- demonstrating how heavy his heart and soul was after love was lost. The complete part is characterised by dark images, effectively conveyed through lexis. "Agony with clotted teats" is one example of a robust description that affects the reader to sympathize on Cullen. The word 'agony' connotes pain, and for that reason brings the reader nearer to the text by being able to relate with the emotions felt. Agony is a very strong adjective, therefore suggesting that love had shattered Cullen down completely. Through Cullen's descriptions, there is no question in what experienced happened, as it has been explained- "All. . . room". This clear description really helps to bring the reader's emphasis upon Cullen's response. The context of the poem is very cliched, as his better half possessed divorced him, very much like Keats. However, the last two lines of the piece is an extremely deep communication: getting rid of love is worse than loss of life itself. I'd side highly on that message- there may be nothing at all worse than sacrificing love. Losing love is a terrible event in life as it might bring distress and therefore make someone walk out one's one regimen in life, and be ignorant of the environment. This can also be supported by the proper execution of the poem- free verse. On the other hand with previous poems, Cullen does not make an effort to confine his thoughts, but to unleash them by using free verse.

Not only love, however the loss of childhood innocence can also bring about problems. Seamus Heaney's "Death of any Naturalist" yearns for this loss showing the not-so-smooth change from innocence to experience, using his a part of his childhood memory gone incorrect. It generalises the increased loss of innocence most of us once possessed, as passions change on the trip of maturity. The structure is simple: a before and after - emphasizing a great childhood memory eliminated sour. The first stanza explores the persona's passion for nature's "gruesome" aspect. Effectively using onomatopoeia, Heaney conveys interest that he once got towards frogs, in such "gargled", "slap and plop", and "farting", each connoting a very gruesome area of nature. Explanations are given in a quite indelicate light, perhaps suggesting Heaney was an inquisitive child without the fear to be squeamish towards gruesome dynamics. To create the field, Heaney uses a combination of assonance and alliteration in "flax-dam festered". In place, this creates a sense of rotting and much atmosphere, which is also backed by the "punishing sunlight" - the utilization of smart personification increases the heaviness as the reader could picture a stuffy atmosphere. Using a metaphor to mention his enjoyment towards frogspawn, he effectively brings the reader back again to the changing times of when he used to be small, using childlike terms to manipulate the reader by the reference to "warm solid slobber" as the "on top of that". Despite his sugar-sweet recollection, this childhood ram becomes bittersweet shortly after. The stanza itself is shorter, while also changing the build into an extremely unpleasant. Explanations become a big compare, using very un-tumultuous imagery such as "coarse croaking", not appealing to the ears regardless of the alliteration as severe words such as "coarse" can be used. Later, the adult frogs appear to be seeking vengeance, further scaring young Heaney, and therefore turning his "dream" into a problem. As Heaney views characteristics in the fresh, he is scarred; a complete contrast right from the start. The subject of the poem identifies the non-material "death" of the innocent excitement that Heaney once had as the reality of nature begins to make sense. The poem is also explores the changeover that one undoubtedly will take from innocence to see. This is one of the primary aspects of innocence of child years; we cannot retain them, they have to be release.

In bottom line, the losses provided in the 6 poems vary through the materialistic aspect, however all the poets acknowledge the same idea that all loss subsequently brings about negative thoughts, such as grief, anger, distress and problems. Although damage overall causes most of us to grieve, it is important that even at the hardest of times, we have to stay strong and keep striving forwards, and not allowing the memories to take over each of our daily exercises of life such just as "La Belle Dame sans Merci".

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