"Do Not Go Gentle Into That Good Night"by Dylan Thomas

In this particular poetry, those rhymes be "ight" and a long "a" sound. One effect of this is to fall in the impression that the poet is facing head-on the issue at hand, squarely making his case with no desire to impress the lector with fancy tricks of the trade.

This is biography-time and death we are talking nigh, he is saying, and t present is no need or desire here to muddy the waters or show off or distract from the naked significance of this most basic proposition of the end of life and our attitude toward it.

Thus, the reader finds night, light, right, night, bright, light, flight, night, sight, light, height, night, and light closing lines, along with day, they, bay, way, gay, and pray. Again, the effect is both straightforward, almost like a child's nursery rhyme (were it not for the subject matter), and profoundly challenging, exalt and disturbing.

Again, the meter also features internal and off-rhymes and repeating, connecting not and lines in spite of appearance stanzas, but also lines among stanzas, such as "blind" and "blinding," " harsh" and "tears," "gay" and " scratch up" and "wave," "lightning" and "night" and "right," "deeds" and "green," etc. The meter is a carefully woven fabric on rhymes and repetition which produces a comforting sound which in turn expresses a troubling and challenging message about the nature of life and death.

One does not like to think about festering old and sick a

Kennedy, X.J., and Dana Gioia. Literature. seventh ed. New York: Longman, 1999.

Thomas takes us through a controversy of the types of men who rage against the end of life and do not go gentle into death (wise men, good men, wild men, and grave men), which is another sort of repetition, and then, in the final stanza, he brings the rime home, so to speak, connecting the urgency of the previous stanzas to his own life, his own decease father.

He speaks to all men first, and then to his own father, never drawing back from his call to enter raging that area of the end of life and the beginning of death (whatever death power be). He even calls for his father to "curse" as well(p) as "bless" him (an off-rhyme itself). In that call, he is repeating in another way his belief that life should be fire up so there is zippo left when the dying man leaves, even if it calls for a cursing from father to son. permit it all out, Thomas is saying with his rhymes and his repetition--hold nothing back, leave nothing unexpressed, the "good" and the "bad."

rhymes which dominate the poem, Thomas is both making the poem look and sound safe, in a sense, while he is simultaneously delivering a profound message about life and death and the place of human beings in that crossroad where the both finally meet for all of us.

nd dying. One does not like to think about death. And one does not a lot encounter a poem which challenges one not only to think about death but to think about it in a new way. Death is "good," says the poet, but he asks us, commands us, to "rage against" the end of life, the "dying of the light." By emphasizing the simple

Robert Frost's poem "The Road Not Taken" also deals with major village in life, and specif
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