Do Not Go Gentle Into That Good Night

C. S. Lewis once said, no one ever told me that sorrow felt so care fear. In Dylan doubting doubting Thomass villanelle, Do not go amiable into that good night, written within the rising Modernist Period, illustrates a man grieving his old and dying paternity to hydrophobia at expiration for people should look over their lives and micturate sureness of having accomplished the defining mowork forcets by taking risks and having no fear out front death is upon them. Within the first tercet, a young man reacts to the stuffiness of death with a fighting approach as to rebuke the betrothal of the end.Throughout the poem, the repetition and rhyming of the last linguistic process helps to allow the reader to read the making of a form of writing k immediately as a villanelle. One of the two key phrases within this villanelle, do not go gentle into that good night,(1) occurs several times to emphasize the plea against death the speaker has toward men in old age and the personifi cation of Gloucesters son Edgar (Cyr) from William Shakespeares play King Lear.The diction of gentle(1) is an adjective in place of an adverb making the less grammatically correct(Hochman) gentle(1) an epithet for his father and involving the affinity shared between the two men through their personal background. The second key phrase, rage, rage against the dying of the light,(3) gives cortical potential towards Thomass following poem, the Elegy, when the detail of the relationship between a young man, Dylan Thomas, and his father.Furthermore, the metaphor of the dying of the light(3) conveys the history of one of Thomass favorite poets, W. B. Yeats and his military background within the phrase bare out(Cyr) helps to clarify that death draws near. Within these two lines, the author uses words such as gentle and rage, dying and good, and night and light as a contradictory term within the diction.Likewise, the alliteration and the consonance of the g in go gentle good(1) and rage, rage against(3) help to designate as the chorus(Overview Do Not Go Gentle into that inviolable Night) within the remainder of the villanelle. Within the next quatern tercets, the achievements of four different kinds of men in old age neglected to decrease the gloom within their surroundings. Wise,(4) good,(7) wild,(10) and grave men(13) are metaphors for men who have failed to enlighten the shadow world in which they live. (Hochman)Thomas uses the metaphors of at their end,(4) last flutter by,(7) too late,(11) and near death(13) to stand as the appearance towards death. The resourcefulness within the villanelle, words had forked no lightning,(5) danced in a thou bay,(8) and caught and sang the sun in flight they grieved it on its way(10-11) is that of dark descent towards a more dangerous world of human ferocity(Hochman) which is followed by the diction of be gay(14) as a render of lightness(Hochman) to contrast the light and dark imagery. (Overview Do Not Go Gentle into t hat Good Night) Within line fourteen, the consonance of bl in blind blaze,(14) the alliteration of the i sound inside blind look like,(14) and the assonance of the z sound in eyes blaze like meteors(14) helps to explain the syntax of the tercet.In addition, Thomass purpose of grave men,(13) full men, who can see but have no vision now understand the capability of possessing a serious and happy aliveness look functions as a paradox for the men are blind(Overview Do Not Go Gentle into that Good Night) and cannot see in so far have a better understanding than a man with jackpot and this comprehension of sudden enlightenment impacts into the final lines of this intimate villanelle.The last quatrain contains a personal request to a young mans father to show true emotions during the hardship before death comes within the night. Thomas begins the last stanza addressing the audience, his father, which reveals to the reader an obliquely drawn persona(Cyr) of the personal relationship between a sickly father and his caring son. Following, the author uses on the drab height(16) as a metaphor towards death as well as a paradox to enlighten the aspect of life achievements.Thomass use of the religious overtones(Welford) in on the sad height, curse, bring up(16-17) relates to the imagery in the book of Deuteronomy in the Bible for a sad height(16) is sad(Westphal) sense Moses cannot enter the Promised Land he dies on the summit of Mount Nebo and Joshua, his son,(Westphal) grieves at the loss of a solid quiver in his life. (Welford) The imagery, curse, bless, me now with your fierce tears(17) stands as a particularised plea to the audience to give the speaker the blessing of fearful and intractable tears that he had not done prior and to curse(17) those who leave be left behind. (Hochman) The devises of the s sound as assonance occurring on line 17, curse, bless fierce tears allows the rhythm of the poem to continue the elaborate patterns throughout the poem. The final quatrain portrays the theme of the villanelle that the grieving of man at the sight of his dying father allows the fear of loss or miserable to change any perceptions towards death.