Thomas and Dickinson

Another essay! A comparison between the poetry of Emily Dickinson and Dylan Thomas, both excellent in their own right. Two of my favourite poets!

In a series of sequential paragraphs, explore the various ways that two poets write about similar ideas.

Death is a universal phenomenon commonly portrayed in literature, the treatment of which is as diverse as the novelists or poets themselves. Emily Dickinson and Dylan Thomas are two such poets who extensively explore human morality and by extension the nature of existence, in their poetry. Their philosophy regarding these themes, however, lay on opposite ends of the spectrum. Dickinson paints a rather noble, romanticized image of death, personifying it in ‘Because I Could Not Stop For Death’ as a perfect gentleman with impeccable manners. Thomas, however, diverges from this traditional religious interpretation of death, portraying the ‘dying of the light’ as a destructive force, dissolving men into madness. His depiction of weather cycles and natural components, however, suggests that he acknowledges it is a desperate struggle against an event which is inevitable.

Dickinson and Thomas paint a very different picture of death and spirituality in their poetry. Dickinson writes as though death was a supremely personal affliction, often from the point of view of a person from ‘beyond the grave’ as in ‘I Heard A Fly Buzz When I Died’, in which a family surrounds a loved one’s deathbed, grieving. They are waiting “For that last Onset-when the king/ Be witnessed-in the Room-” (7-8). The oxymoron ‘the last Onset’, ‘last’ denoting ‘end’ and ‘onset’, ‘beginning’, implies Dickinson believes in a life after death. The king is a symbol of God or death, indicating a belief in religion. Thomas shares her belief in a god, and hence an afterlife of some unknown nature. This is evident in his poem, ‘And Death Shall Have No Dominion’. He explains that, though a person’s “bones are picked clean and the clean bones gone,/ They shall have stars at Elbow and foot”. He urges that we have no reason to fear death if we have faith: “And Death Shall Have No Dominion”. However, we can not assume his image of God is of that of a civil gentleman, as Dickinson depicts in ‘Because I could not stop for Death’. This is a traditional, religious image of a god and contrasts greatly with the god, or ‘life force’ Thomas describes in ‘The force that through the green fuse drives the flower’. Thomas portrays an invisible force which drives his 'green age', a force which has power to both give and take life. This force is nature, contrasting greatly with Dickinson's sure religious ideology. Thomas believes he is part of the cycle of nature, from birth to decay: 'The force that drives the water through the rocks/ Drives [his] red blood'. However, he is “dumb to tell’, he can not comprehend this natural life force which all living things share. Although the thematic concerns of their poetry are similar, their interpretation of death and the afterlife is intensely diverse, Dickinson portraying a traditional religious vision of death, and Thomas a distinctly pantheist view.

Another theme which is often expressed in the writing of both poets is the cycle of one’s life. In the third stanza of ‘Because I could not stop for Death’, Dickinson explicitly communicates her views regarding death, a natural progression of life.

We passed the school, where children strove
At recess, in the ring;
We passed the fields of gazing grain,
We passed the setting sun.

She describes a carriage ride in which she is escorted by death, a journey from life to death and ‘eternity’. The imagery of “the school, where Children strove/ At Recess, in the Ring” implies childhood and youth. The ‘Ring’ is reminiscent of the cyclical nature of life. She then passes the “fields of Grazing Grains,” symbolic of adulthood, both fertility and hard work. Finally, they pass “the setting sun” which represents age and the passing of time; the beginning of the end of her life. Dylan Thomas also shares this vision; evident in all of his poetry is the cycle of decay and rebirth, none more so than in his poem 'Fern Hill'. Represented by the 'green grass', in his youth he is innocent and free, the innocence of the 'Garden of Eden' forming an association with the 'apple boughs'. The passing of time is illustrated by the flowing rivers and stars turning overhead. He describes adulthood as an awakening. A biblical allusion referring to 'Adam and Eve' is employed to describe the acquisition of knowledge and end of innocence. Finally, in the last stanza a 'green and dying' man is illustrated, rife with regret of his wasted childhood. Although he 'sung in [his] chains like the sea', he could not escape the 'force' and died, raging 'against the dying of the light'. Although the cyclical nature of life is present in the poetry of both Dickinson and Thomas, each has a different view concerning the actual death of one’s earthly body and spiritual afterlife. Both however accept that one can not escape death.

Many people fear death, it is often seen as a tragic end to one’s life and hence much time, effort and money is invested in prolonging life. Dylan Thomas seems to share this fear of the ‘unknown’ and in his poem ‘Do Not Go Gentle Into That Good Night’ he urges all men, those who are wise, wild, grave or good, not to go quietly, but struggle with a fiery intensity. Conversely, Emily Dickinson is accepting of death, as expressed in ‘Because I could not stop for Death’. Her acceptance of death allows her to calmly lay aside her 'labor and [her] leisure too’ willingly accompanying death to her grave, despite the fact that she may have things she still wishes to accomplish. She describes her grave, an image which usually carries a negative connotation, as ‘a house that seemed/ A swelling of the ground’. In her poem ‘Drowning is not so pitiful’ she advises us not to resist drowning, or fight death, rather allow it to take us gently. She reminds us that though we fear death, our ascension to heaven is assured and that we will face 'the maker's cordial visage'. Her religious belief allows her to overcome her fear of 'drowning'. To resist is 'pitiful' and shows only a lack of faith. In this, the greatest contrast between the beliefs of Dickinson and Thomas is created. Whilst Dickinson suggests we calmly accept the ‘light’, Thomas urges us to ‘rage, rage against the dying of the light’, a mysterious and eternal darkness.

Death, life and immortality are major thematic concerns of both Emily Dickinson and Dylan Thomas. However, their interpretation of death differs greatly. Whilst Thomas seems engrossed in a struggle with death and immortality, Dickinson prefers rather to accept death politely and proceed with faith into the hands of God. Both poets, however, acknowledge that death can not be escaped regardless of one’s approach; it is an inevitable event in the cycle of decay and rebirth.

The Trapeze Swinger, Iron and Wine

The lyrics, the symbolism, the harmonies... brought a tear to my eye

Hamlet; Shakespeare's greatest

In this essay I have attempted to deconstruct Shakespeare's Tragedy Hamlet, which is in my opinion his greatest. Though not usually a fan of his 'fluffed-up' Tragedies, it is the exploration of human nature through the complex character of Hamlet which appeals to me.

Bearing in mind Shakespeare’s characterisation of Hamlet, discuss your thoughts regarding how successfully Hamlet deals with his challenges and uncertainties in the play.

Prince Hamlet of Denmark is perhaps the greatest and most complex dramatic character ever constructed. The protagonist of Shakespeare’s tragedy of the same name is intensely philosophical and contemplative, though simultaneously rash and impulsive; he is a man of radical contradictions. In his characterisation of Hamlet, Shakespeare skilfully enlightens the audience to his abstract ideas and theories, chiefly concerning the impossibility of certainty, the complexity of action and the mystery of death and the afterlife. Hamlet subsists in a world of appearances; he can never be assured that his beliefs or actions are justified. However, at the conclusion of the play, Hamlet comes to an acceptance of providence and thus triumphs his great anxiety. He successfully meets his challenges and resolves his uncertainties.

Through the characterisation of Hamlet, Shakespeare explores the concept of certainty, illuminating to the audience the uncertainties upon which their lives are built, thus extending this notion to the indistinct line between appearance and reality. Hamlet, a contemplative, learned scholar, struggles to justify his motive for revenge and thus seeks to prove the authenticity of the ghost and its accusations against Claudius. Although Hamlet desires to see Claudius brought to justice for his actions, he realizes the heavy burden of killing the king, and the consequences of such actions for the state and his own delicate mental state. Thus, in order to discover the truth, Hamlet stages a play which imitates the circumstances of King Hamlet’s death: ‘I have heard that guilty creatures sitting at a play have, by the very cunning of the scene, been struck so to the soul that presently they have proclaimed their malefactions’ (II, ii, 577-80). The presence of play actors within the play directs the audience to Shakespeare’s philosophy; life is, to an extent, like play-acting. Deceitful actions and Spying are prominent in the play, enhancing the theme of uncertainty. Polonius asks Reynaldo to spy on his son, Polonius and the King spy on Hamlet and Ophelia, the King and Queen ask Rosencrantz and Guildenstern to spy on Hamlet, and so on. Hamlet believes that ‘To be honest, as this world goes, is to be one man picked out of ten thousand’ (II, ii, 190). His constant anxiety regarding appearances and reality contribute to his uncertainty of the ghost’s accusations of Claudius, and hence his hesitancy to act on the revenge he promised his father.

Directly related to the theme of uncertainty is the theme of action. Hamlet’s ability to act is affected by, not only rational concerns, such as the need for certainty, but also emotional, psychological and moral factors. In the third soliloquy of Hamlet, the prince is reproachful of his actions, his failure to fulfil the revenge he promised his father. Filled with self-loathing, he cries: ‘What an ass am I!’ (II, ii, 584). Hamlet’s hesitancy to undertake his revenge contrasts greatly with Fortinbras who, principled and determined, displays a passionate enthusiasm to avenge his father’s death. This provides an important foil in the play. Hamlet praises and envies Fortinbras (IV, iv): ‘A delicate and tender prince/ Whose spirit with divine ambition puff'd’, and chastises himself for being indecisive and retreating into despair. Hamlet’s actions either directly or indirectly caused the deaths of Ophelia, Gertrude, Laertes, Polonius, Rosencrantz and Guildenstern, and even himself. If he had simply killed Claudius whilst he prayed, the deaths could have been averted. His murder of Polonius demonstrates Hamlet’s inability to control his actions when emotionally charged. In his calm, thoughtful state, Hamlet is too beset by moral contemplations and uncertainties to avenge his father’s death, even when the opportunity is before him. Taking this into consideration, Hamlet deals with his challenges poorly; though intensely contemplative, he is also impulsive. His inability to coordinate his thoughts and actions is his tragic flaw. 

Hamlet’s indecisiveness extends further than the revenge which he has been instructed to fulfil by his father’s ghost. Throughout the play, Hamlet contemplates the nature of death and one’s individual control of fate. His fear of death, of the unknown, plays on his mind as he struggles to comprehend the complexity of his challenges and execute his revenge. Within his self-concept, he searches for answers to questions which cannot be answered by mortal men. Driven to obsession and madness over the notion of death, he contemplates the morality of suicide: ‘To be, or not to be, that is the question: Whether ‘tis nobler in the mind to suffer the slings and arrows of outrageous fortune or to take arms against a sea of troubles and by opposing end them’ (III, I, 63-66). Having suffered grievous ‘outrageous fortunes’, notably the murder of his father and mother’s incestuous actions, Hamlet feels that only through suicide can he escape his ‘troubles’. However, on further reflection, Hamlet realises that it is the fear of the unknown which prevents men from taking such action. Men would rather ‘bear the whips and scorns of time’ then to sleep, for ‘what dreams may come’ (III, I, 69), he knows not.

However, upon his return from England, Hamlet has developed an acceptance of providence which appears to bring him great peace: ‘Our indiscretion sometime serves us well/ When our deep plots do pall, and that should learn us/ There’s a divinity that shapes our ends,/ Rough-hew them how we will’ (V, ii, 8). Hamlet’s contemplation of death and humanity culminates in Act V, Scene 1, in which Hamlet grips the unearthed skull of Yorick. This serves as a physical memento of death, forcing Hamlet to literally ‘stare death in the face’. He is reminded that death is a common human experience, no matter life’s great triumphs; all men meet the same fate. This allows him to reconcile the idea of death, and thus meet his challenges and resolve his uncertainties.

Whilst at first, Shakespeare’s Hamlet may seem a classic revenge tragedy; deeper inspection reveals a far more complex and introspective study of human nature. Hamlet, an introspective scholar, mediates on the many uncertainties the world is founded on, also agonizing on death and the afterlife. He struggles to justify the revenge he has promised his father. It is his failure to coordinate his thoughts with his impulsive actions which can be considered his fatal flaw and inevitably bring about his descent into madness, and his death. However, in fulfilling the revenge he promised his father, he was ultimately successful; though his triumph came at a great cost for all involved.