Do Not Go Gentle Into That Night Analysis Sample

Go Gentle Into That Good Night,” emphasizes that death should not be accepted; It should be fought with rage and anger through his Incorporation of Intense word choice, figurative language, and dark imagery. Thomas’ incorporation of lugubrious language illustrates that death should not be accepted. Repeating words such as “rage,” “dying,” and “night,” the reader is emotionally drawn to the perils associated with death. Where each word appears, the plea Is to not succumb or fall easily Into death, do not move away from the light and fall Into the night.
Through these powerful and Intense words. He reader completely understands that fighting death is not just an option but a necessity. He promotes this idea with the words “burn,” “grieve,” and “blind. ” When a soul accepts death, he becomes blind, the soul will burn, and those left behind will grieve. Through these actions, the reader understands that not fighting death leads to peril for more than just the life which has been lost-the family is left to mourn and anguish over the validity of the life which Just easily gives way to the darkness.
The author’s utilization of metaphors further perpetuates the need to fight the letches of death. Through “wise men” and “good men” the emphasis is placed on the ideals that each comparison renders. The educators, philosophers, professors and educated represent the logic associated with dying. These men depict that death Is unavoidable and an Inevitable and logical occurrence. With death, one should understand that It will occur and that nothing more needs to be considered. No emotions should be unveiled in the midst of dying because it is simply what is supposed to happen.

However, Thomas insists that even the mean of intelligence, in he grip and clutch of death, will react emotionally and will fight at will to overcome what they declare illustrating the hypocrisy behind their teachings and the logic behind not accepting death. In addition, the author’s use of the metaphor “good men” drives home his continual assertion of “rag[long]” against the “night. ” These mere stepping stone into a better place, Heaven. One does not really die. The soul just moves onto where it should be, and with this ideology and promotion of faith, death should not be seen as the end, Just the beginning.
In contrast to what is reached, Thomas distinguishes that at the time of the impending peril and release of the soul to this sanctuary, the men of faith fight and cling onto breathing and remaining alive. The author’s point of these comparisons is to validate that one must not fall prey to the words of logic or the words of faith because each emphasizes by action that living is worth the fight and until the last breath is drawn, one must “rage, rage against the dying of the light. ” Through fierce tactile imagery, the author insists that one must assert the need to live.
Upon the “dying of the light,” one’s desire to remain alive must “burn and rave at the close of day. ” To go willing, even at “old age” is not an option. He propagates that the will must be ignited and the fire within must fume and fight against the extinguishing of the light. The reader feels the urgency of keeping the light burning and not allowing the day to end. The need is intense and immediate. Thomas further clarifies this position with the images achieved through “curse” and “bless” with “fierce tears. ” The passion is felt; the anger is achieved; the fight is exalted.
The reader is pulled into Thomas’ feelings, his anger, and his desire for his own father to reach beyond the limitations of death and fight back. With this fight, the gift is granted and death can no longer achieve the “dying of the light. ” Through Thomas’ style, readers are moved to understand that death is not something which should Just be accepted-it should be fought with fierce and intense force. Although inevitable, the grip of death can sometimes be avoided if one is willing to “rage” against it, hold onto the ideas of tomorrow, and insist that the day not end.

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