Do Not Go Gentle Into That Good Night

C. S. Lewis once said, no one incessantly t anile me that grief felt so equal fear. In Dylan Thomass villanelle, Do not go gentle into that good night, written within the Emerging Modernist Period, illustrates a homo grieving his old and dying father to cultus at conclusion for people should look over their lives and score confidence of having completed the defining mo workforcets by taking risks and having no fear in advance death is upon them. Within the first tercet, a young man reacts to the closeness of death with a fighting approach as to rebuke the betrothal of the end.Throughout the poem, the repetition and rhyming of the last words helps to allow the reader to understand the making of a frame of writing know as a villanelle. One of the two lynchpin phrases within this villanelle, do not go gentle into that good night,(1) occurs several times to emphasize the plea against death the loudspeaker system has toward men in old age and the personification of Glouceste rs 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 surname for his father and involving the affinity shared between the two men through their individual(prenominal) background. The second key phrase, rage, rage against the dying of the light,(3) gives insight 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 machine background within the phrase Black out(Cyr) helps to clarify that death draws near. Within these two lines, the precedent uses words such as gentle and rage, dying and good, and night and light as a opposed term within the diction.Likewise, the alliteration and the consonance of the g in go gentle good(1) and rage, rage a gainst(3) help to signify as the chorus(Overview Do Not Go sweet into that Good darkness) within the remainder of the villanelle. Within the next four tercets, the achievements of four different kinds of men in old age neglected to lessen 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 dark world in which they live. (Hochman)Thomas uses the metaphors of at their end,(4) last wave by,(7) too late,(11) and near death(13) to stand as the appearance towards death. The imagery within the villanelle, words had forked no lightning,(5) danced in a green 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 wildness(Hochman) which is followed by the diction of be gay(14) as a state of lightness(Hochman) to contrast the light and dark imagery. (Overview Do Not Go Gentle into that Good Night) Within line fourteen, the consonance of bl in blind blaze,(14) the alliteration of the i well(p) inside blind eyes 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) serious men, who can see only have no vision now understand the capability of possessing a serious and happy liveliness style functions as a paradox for the men are blind(Overview Do Not Go Gentle into that Good Night) and cannot see yet have a better understanding than a man with sight and this comprehension of sudden enlightenment continues 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 s on. Following, the author uses on the sad height(16) as a metaphor towards death as well as a paradox to enlighten the medical prognosis of life achievements.Thomass use of the religious overtones(Welford) in on the sad height, curse, bless(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 pull down he dies on the summit of Mount Nebo and Joshua, his son,(Westphal) grieves at the loss of a solid rock in his life. (Welford) The imagery, curse, bless, me now with your red tears(17) stands as a specific plea to the audience to give the speaker the blessing of fearful and uncontrollable tears that he had not done prior and to curse(17) those who bequeath 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 suffering to change whatsoever perceptions towards death.