Kambing Ngesot

Kambing, yup kita tahu kambing kan. Hewan yang berkaki 4, bertubuh kecil dan berjenggot (ini bukan rasisi, hanya ciri kambing). Hehe, saya ndak mbahas kambingnya kok, hanya sebagai kiasan saja *tapi kasian juga yah sama kambing, dijadiin kambing hitam, nahh kambing lagi kan. *maaf mbing L.

Oke sekarang apa hubungannya kambing dengan ngesot, kambing kan jalan bukan ngesot wahhhh parah nih. Sebenarnya tak ada hubungannya sih antara kambing dengan ngesot tapi ada filosofinya (itu menurut saya sihhh). Menurut kamus yang tidak pernah say baca arti ngesot itu adalah menggerakan badan kesamping dengan menjadikan pantat sebagai roda pendorong, tapi secara fisafat ngesot juga bearti orang yang tidak mensyukuri nikmatNya atas apa yang dimiliki. Oke kalo binggung nihh  tak kasih contoh, kalian liat tuh suster ngesot, nagapain coba ngesot, cantik iya, punya kaki iya, lahh kok mau-maunya ngesot, ngesotnya elit lagii Cuma mau dilorong rumah sakit heheh.

Manusia itu bukan hewan kan yang bisa dijadikan manusia hitam eh maksudnya kambing hitam (nah looo, lagi-lagi kambing dibawa). Tapi gini, aslinya saya tu pengen nulis gini, kalo manusia itu mikir ni yee, masti dia punya akal kan, kalo di punya akal sudah tentu dia ngerti mana yang kambing baik dan mana yang kambing hitam kan. Nah pertanyaannya, kalo manusia itu dikasih akal (buat mikir kann) kenapa ndak digunakan dengan baik supaya tau mana kambing yang bisa jalan dengan baik bukan kambing yang Cuma ngesot doang.

Akhir-akhir ini saya sering banget yang salah kaparah tentang  kambing, kambing itu binatang jelas kan. Mana ada kambing bisa jadi kuda, apa lagi kambing jadi ayam atau kambing terbang nahh ini tambah kacau deh. Kambing itu kalau dibilangin (bukan dikasih nasehat sih) bakal ngewalawan dan pasti bikin salah yang sama dan ndak mau tau deh yang punya kaya apa? Nah, kalo manusia ndak bisa dikasih tau terlebih dai itu punya “kewajiban” yang wajib dan harus ditaati masih ngelanggar itu namanya bodohnya sama dengan kambing.

Orang bijak itu ndak perlu kaya, ndak perlu punya kedudukan dan apalah pokoknya, tapi orang bijak itu yang tahu mana hak dan mana kewajiban. Bukankah Rasul kita Nabi besar Muhammad pernah bersabda, intinya itu adalah “siapa yang harus dipatuhi oleh lelaki adalah ibunya, siapa yang dipatuhi oleh perempuan adalah suaminya” nah ini bukan tanpa alasan kalo menurut saya, ini jelas dan sangat jelass.

Jujur saja yahh, saya berfikiran bahwa, kalau orang yang sama suaminya saja sudah berkhianat (ini hubungannya jelas dan sangat jelas) apakah ini orang bisa dipercaya kedepannya dalam membina rumah tangga. Terlepas adanya ketidak cocokan dan ketidak harmonisan lagi, yoo usaha dong biar baik, biar nyaman dan biar bisa akur jok menyalahkan orang lain, salahin dulu diri sendiri bisa kagak menjaga amanah bisa kagak menjalain hubungan yang lebih mulia.

Kedewasaan berfikir dalam hal ini menyikapi keadaan itu tidak semudah membalikan telapak tangan kosong (kalo ada bebannya yoo susah juga kale) coba aja bayangin kalo membalikan tangan dalam keadaan menggengam sesuatu atau lagi memegangi buku misalnya, ndak bisa kan. Makanya orang cerdas itu mikir panjang bukan mikir sempit, jangan Cuma nyari pelarian belaka tapi nyari solusi yang terbaik bukan nguber-nguber orang ndak jelas, telpinnn smsinnn orang pake ngejelekin atau apalah, kalo dikasih tau yang bener malah bilang, kamu jahat, jahat apanya, elooo aja yang jahat pake biningit, punya kecerdasan tapi ndak pernah dipake mikir.

Coba dehh kalian fikir yah, misalanya kasusnya gini.kamu maunya apa, apapun akan kuturuti asal kamu nyaman, bahagia dan ndak ngerasa keganggu aku lagi. Misalalnya tak jawab gini, ya udah tinggalin aku, urus aja dirimu. Hapus semua, jangan pernah lagii hgubungii aku, jangan pernah lagi kontak bebnzdlasjwgfdewliu xzbhweogfd9hw pexcnzwehfdnsagvcbweohcbuzmcjvewlfhnaes9oxn jbxczxybelcdkzsc nzcbjsdc kira-kira gitu deh bilannya seseorang kekita. Oke kan fine tohh, udah deal. Ehh berikutnya di ngubungi lagii, bilang “aku ndak bisa pisah sama kamu” tolol gak tu orang.

Kan udah nihh yee, udahh diam nyaman aman damai tentaram sejagad pulau raya tohh, ehhhh besoknya masih ngubungii lagii, kamu kok jahat bangett kata si kambing, kamu tu bukan orang ytang baik, bejat dana lain sebagainya, tuan kambing kan jadi heran yahh, ini kambing punya otak apa kagak ehh punya sihh otak tapi kan ndak bisa mikir.

Analysis ofmessage in Pride and Prejudice Novel by Jane Austin

I.          INTRODUCTION

1.1       Background of study

According to Mayer, literature is described as a fiction that consists of carefully arranged words designed to stir the imagination (1990:3). It means that when the authors create a fiction, they stir their imagination and choose every word that they want to write a story, they build their own imagination and write it down as clearly as possible. Even some words will sound strange or too imaginative; it will help the readers understand about the authors’ thought or what they want to say.

In literature, there some literary works that we can read; they are short story, novel, poetry, and drama.. Novel is one of literary works that enable the readers to identify the cases of murder,problems with others which they never know before. One of the advantages of novel is its valuable lesson. Novel is a kind of literary works that often tries to reflect human life by portraying the mental and inner mind of the characters.

1.2 Statement of Problem

What the message in Pride and Prejudice novel by Jane Austin?

1.3    Purpose of Study

To know what the message that want to tell the writer to reader in Pride and Prejudice.

1.4       Significant of Study

It is expected that in the future, the information in this analysis will be regarded as one of the references for the students who have plan to conduct the same analysis. It is also expected that the students can learn more about literary word especially novel.

1.5  Scope and Limitation

The scope of this analysis is only focused on the message that happen in Pride and  Prejudice.

1.6 Definition Key Terms

·         Message a significant political, social, or moral point that is being conveyed by a film, speech, etc.

II.      REVIEW RELATED LITERATURE

2.1 Novel

Kennedy said, “novel is a book-length story in prose, whose author tries to create the sense that, while we read, we experience actual life” (1983:180).

Novel is one of the various literary works. A novel ca reflects human life by portraying the mental and inner mind of the characters. By reading a novel, readers will get much more information about what in the novel and get enjoyment while they read it.

2.2 Kinds of Novel

There are several kinds of novel. Macmillan in his book “English and Western Literature” (1987:953-954) stated that are nine kinds of novel, they are:

2.2.1 Picaresque Novel

This novel views a loose series of episodes recounting the adventures of wanderers and lovable rogues.

2.2.2 Sentimental Novel

The sentimental novel shows a highly emotional tale of romance and tears, such as Richardson Clarissa (1747-1748).

2.2.3 Gothic Novel

The gothic novel tells about the story of mystery and suspense.

2.2.4 Philosophical Novel

This novel tells about the raises profound question about life and human kind.

2.2.5 Psychological Novel

This novel views a story that probes the complexity of the characters’ thinking, behavior, and motivation.

2.2.6 Realistic Novel

The realistic novel focuses objectively on ordinary life.

2.2.7 Naturalistic Novel

Naturalistic novel is a story of characters trapped by overwhelming forces of nature or society.

2.2.8 Social Criticism Novel

This novel stories about the exposes evils in society for the purpose of the correction.

2.2.9 Stream-of-Consciousness Novel

The stream of consciousness novel is a story told through the free-flowing thoughts of the main characters.

2.3 Elements of Novel

                   Novel has some elements, such as: character, characterization, conflict, plot, point of view, theme, and setting.

2.3.1 Character

                             Character is a person exists in a story, play or novel (Macmillan, 1987; 698). Schmidt and Bogarad (2006; 1382) also claimed that the characters are people in the story who have many conflicts.

                             Kenny (1966:28-29) mentioned that characters has two general categories which are simple characters and complex characters. A simple character is a character who less the preparation of human personality in the story. While complex character is the readers can see all sides of the character because this character more lifelike than the simple one.

2.3.2 Characterization

            “Characterization is a personality of the character in a novel, short story, or play; it is also the method that an author uses to reveal this personality” (Macmillan, 1987:613). There are two kinds of characterization they are; direct characterization and indirect characterization. The author directly states fact about the character’s personality in the story, it is called as direct characterization. While, when the author reveals the character indirectly, through the other character’s words or action about that character, it is called as indirect characterization (Macmillan, 1987:40, 47).

2.2.3 Conflict

     According to Macmillan (1987:26, 33) conflict is a struggle between two opposing forces”. He also mentioned that conflict has two kinds, they are: external conflict and internal conflict. External conflict exists when a person struggles against some outside force, such as: another person, nature, society, or fate. Internal conflict is a conflict of person who against self, take place within character.

2.2.4 Plot

     Arp and Johnson stated that plot presents the sequence of incidents or events in a story which is constructed by the authors in order to presents the sequence in the significant order (2006: 103)

In the exposition, the author introduce the story’s character, setting and situation to readers,. The raising action leads up to the climax, the point of the reader’s greatest involvement in the story. The climax usually indicates the way in which the story’s conflict will be solved. The falling action reveals the outcome of the climax and resolution brings the story to a satisfying and logical conclusion.

2.2.5. Point of view

According to Maxmillan (1984:67) point of view is the relationship between story teller and the story. Arp and Johnson said that there are four basic points of point of view, they are: first, Omniscient point of view is told the third person by narrator whose knowledge and prerogatives and an limited. Second, third person limited point of view is told the third person, but from the view point of one character in the story, such point of view characters are filters through whose eyes and minds writers look at the event. The third first point of view is the author disappears into one of the character who tells the story in the first person. The fourth, objective point of view is the narrator disappears into kind of roving camera. With this point of view readers are placed in the position of spectator of the movie or play (2006:228 – 232).

2.2.6. Theme

Macmillan (1987:114,118) said that theme is the generalization of live that written by the author in order to communicate with the readers through a specific story.

2.2.7. Setting

Setting refers to the point in location, times, places, and the environment are taken places in the story (Schmidt and Bogarad, 2006:1381).

There are two types of setting, they are:

·         Neutral Setting

In Neutral Setting, the author has no real the interest in his setting and does not encourage such interest in the reader’s part.

·         Spiritual Setting

This setting means as certain values that embodied in or implied by the physical.

                       

III.   RESEARCH METHODOLOGY

3.1 Research design

Research refers to the researcher plan for the study that includes the method that used, what data that will be gathered, where, how, and from whom in order to answer the problem(Ary, Jacobs, and Razavieh,2002:29). In this research the writer use the descriptive qualitative because the researcher try to analyze the novel descriptively that emphasize on the message  ofPride and Prejudice novel.

3.2. Approach

Elliot in Kennedy (1983:1348) stated that there were four approaches in the nature of work of literature.

3.2.1. Objective Approach

The objective approach assumes a story, poem, or play to be individual entity existing on each pages that the readers can read and understand in each own right, without necessarily studying the live of its author.

3.2.2. Mimetic approach

Mimetic approach is the imitation or re-creation of an action that is serious and complete in it therefore, this approach views that a work of literature imitates the world or the civilizations in which the work was produced.

3.2.3. Expressive Approach

Expressive Approach is views the literary work as an expression of the author feeling. Therefore, to study this work, someone has to study the author’s live or the ages in which the work was written or the effect on each readers.

3.2.4. Pragmatic Approach

From this perspective, a literary work is a force that affects people. It stirs certain responses in them, rouses their emotion and argues for ideas that change their mind.

3.3. Research Object

The object of this study is novel that focused on “Pride and Prejudice” novel by Jane Austin.

3.4. Data Collection

In the data collection the writer quotes some dialogues or some paragraphs that refers to the love in “Pride and Prejudice” novel by Jane Austin. The writer applied some following steps, they are;

·           Reading and Understanding”Pride and Prejudice” novel.

·           Choosing and Selecting the Data which deal with the problem will be analyzed.

3.5. Data Analysis

There are some procedures that used by the writer in order to analyze the data, they are:

·           Analyzing the data based on the classification that refers to the love  in the novel of “Pride and Prejudice”.

REFERENCES

Mayer, Michael. 1990. The Bedford Introduction to Literature, second Adition. New York: Bedford Book of Saint Martin’s Press.

Kennedy, X.J. 1983. Literature; An Introduction of fiction, Poetry, and Drama. Boston: little, Brown, and Company.

Maxmillan. 1984. English and Western Literature. New York: Maxillan Publishing company, a division of Maxmillan, Inc.

Arp. R. Thomas and Greg Johnson. 2006. Perrine’s Literature: Structure, Sound, and Sense, Ninth Edition. United States: Thomson Wadsworth.

Ary, Donald, Jacobs and Razavieh. 2002. Introduction to research in education. New York: Holt, Rinehart, and Winston.

Scmidt, J. z and Carley, R. B. 2006. Legacies; Fiction, Poetry, Drama, Nonfiction, Third Edition. United States: Thomson Wadsworth.

DYLAN THOMAS

(1914-1953)

BIO:

·         born in Swansea, Wales

·         father =

o   schoolteacher, read Shakespeare, Bible

o   à  interest in words for DD

·         left school at 16, became a reporter 15 months)

·         WWII:  BBC documentary film editor, radio broadcaster

* of boyhood reminiscence:

·         Portrait of the Artist as a Young Dog (1940) stories,

·         Quite Early One Morning (1954) stories,

·         Under Milk  Wood (1954) verse drama

·         original dramatist, essayist

·         greatest lyric poet of his generation

·         Dylan Thomas:  1940s:

o   return to stylized, extravagant, romantic rhetoric

o   rejected by Philip Larkin (as romantic excesses)

POETRY:

·         childhood influences =

o   Wales setting, Shakespeare, Bible, nursery rhymes (sound over meaning *)

·         writing poetry since a small boy

·         1st published volume at 19

·         published regularly during 1930s

(1) early poetry =

·         frustratingly difficult to read & understand

·         "I like contradicting my images"

·         obsessed with mortality/death (the power that gives life takes it)

·         Eighteen Poems (1934), Twenty-Five Poems (1936)

2) later poetry =

·         less obscure

·         more simple, direct style

·         ceremonial style

·         accepts death:  perpetual cycle of death & rebirth

·         Deaths and Entrances (1946) = his most famous collection

·         "Fern Hill" (1946)

o   nostalgic recollection of a childhood holiday on a farm

***nostalgia (EVW, GO)

·         lamentation ("threnodies") like Milton's Lycidas, Gray's Elegy, Shelley's Adonais, Arnold's Thyrsis

·         lost youth

·         Eden before the Fall

·         mortality, corruption, time

“Do Not Go Gentle into That Good Night” (1957)

·         villanelle

o  

line 1 - a - 1st refrain line 2 - b line 3 - a - 2nd refrain line 4 - a line 5 - b line 6 - a - (line 1) line 7 - a line 8 - b line 9 - a – (line 2) line 10 - a line 11 - b line 12 - a - (line 1) line 13 - a line 14 - b line 15 - a - (line 2) line 16 - a line 17 - b line 18 - a - (line 1) line 19 - a - (line 2)

pastoral themes/subjects

§  Italian rustic song (16^th C)

§  French poem (16^th C)

o   light, simple verse

§  IRONY

·         light form @ death

·         light tone @ serious topic

·         simple structure but complex theme

o   “To an Athlete Dying Young”

o   “Not Waving but Drowning”

o   19 lines

§  5 stanzas of three lines (tercet)

§  1 stanza of four lines (quatrain)

o   line length = none

o   rhyme scheme

§  1^st and 3^rd lines: 

·         alternate as last lines of stanzas 2, 3, 4

·         end 5^th stanza as couplet

§  repetition:

·         to repeat key lines

·         to reinforce theme/message

·         to delve more deeply into his material

·         to revise, amplify, and show more facets of what the poet feels

·         tone

o   angry, defiant

o   desperate

o   DABDA

§  Denial, Anger, Bargaining, Depression, Acceptance

§  Kubler-Ross

·         to his dying father

·         4 men, 4 reactions to death

·         double meanings & paradoxes, pun

·         speaker:

o   son to dying father

·         speaker’s claim/thesis (message):

o   it is not fitting, honorable for a man such as he (great, interesting) to submit meekly to death

o   do not resign yourself to dying but “fight it”

·         “persuasive essay” structure:

o   stanza #1:  claim, thesis  (2^nd person POV)

o   stanzas 2, 3, 4, 5: examples (3^rd person POV)

o   stanza #5:  conclusion, personal plea  (2^nd person POV)

·         Stanza #1:

o   2^nd person POV

o   3 independent clauses

o   old age “should” à “so” you should

o   “go gentle” & not “go gently” (copulative/joining sense)

§  adjective refers to the person, don’t be gentle

o   “good night” = death, good-bye

§  “good” b/c death is a good thing

§  or meant sardonically

o   “light”

§  light of day – life

§  life = a day, death = sunset

§  light = will to live, spirit, soul, hope, mind (faltering of body)

·         Stanza #2:

o   3^rd person POV

o   2 subordinate clauses + 1 independent clause

o   EX:  “wise men”

o   “dark is right” echoes that the night is “good”

o   right = inevitable (logical, reasonable, rational), natural, unavoidable

o   “forked no lightning”:  unoriginal, of no worth/impact, nothing spectacular; did not divert from the path, followed the given “flash”

§  poets & poetry who wrote in the same way, did not challenge, did not change

§  BUT this poem does that

·         Shakespeare

·         ee cummings

·         Emily Dickinson

·         Dylan Thomas

o   RAGE b/c these dying men realize they could have/should have done more

·         Stanza #3:

o   3^rd person POV

o   1 independent clause

o   EX:  “good men”

o   “crying” weeping (fits w/regret) & shouting (latter fits w/“rage”)

o   “frail deeds” = previous “words that forked no lighting”

§  cannot stand on their own

§  unoriginal, uninspired

§  BUT this poem does that

·         Shakespeare

·         ee cummings

·         Emily Dickinson

·         Dylan Thomas

o   “might have”

§  regret, if only, woulda/coulda/shoulda

o   “danced in a green bay” = personification, evocative imagery, romantic

o   RAGE b/c these dying men realize they could have/should have done more

·         Stanza #4:

o   3^rd person POV

o   1 independent clause

o   EX:  “wild men”

o   “who caught and sang the sun in flight”

§  had the talent, skill

o   “grieved it on its way”

§  didn’t realize what they had (don’t know what you’ve got ‘til it’s gone)

§  got caught up in the daily grind, fretted over the “little things/small stuff”

§  always worrying & not enjoying the moment

o   regret – learn, too late

o   RAGE b/c these dying men realize they could have/should have done more

·         Stanza #5:

o   3^rd person POV

o   1 independent clause

o   EX:  “grave men”

o   “grave” =

§  dying

§  serious

o   oxymoron:  “blinding sight”

§  dying eyesight BUT perceptive insight

§  see with clarity, perceive

o   “Blind eyes could blaze like meteors and be gay”

§  even w/loss of sight, life isn’t over

§  handicapped is not end of good life

§  “meteors” = metaphor for mind (wisdom, insight, brain)

§  “gay” = happy, enjoy the other 4 senses, enjoy what you do have, count blessings

o   RAGE b/c these dying men realize they could have/should have done more, appreciated what had

·         Stanza #6:

o   2^nd person POV

§  speaks directly to his father

o   3 independent clauses

o   show some emotion: 

§  curse OR bless, scream & shout

§  show some life, will to fight

§  show some of your old fire

o   TONE = desperate, begging, pleading

·         selfishness of those left behind

o   no more pain for the dying

§  whether heaven or nothing, still an end to the pain & suffering

o   we = selfish b/c we don’t want to be w/o them

o   we weep for ourselves

o   Toby Keith’s  “I’m crying for Me”

Intro:

The first poem that Dylan Thomas ever published, when he was only eighteen, was an early version of "And Death Shall Have No Dominion." The cycle of life and death formed a constant underlying theme throughout his poetry since that earliest effort. In "Do Not Go Gentle into That Good Night," a moving plea to his dying father, death takes on a new and intensely personal meaning for Thomas.
David John Thomas was an important influence throughout his son Dylan's life. A grammar school English teacher, he had a deep love for language and literature which he passed on to his son. In a 1933 letter to a friend, Dylan Thomas describes the library he shared with his father in their home. His father's section held the classics, while his included modern poetry. It had, according to Thomas, everything needed in a library.
"Do Not Go Gentle Into That Good Night" was in all likelihood composed in 1945 when D. J. Thomas was seriously ill; however, it was not published until after his death on December 16, 1952. Thomas sent the poem to a friend, Princess Caetani, in the spring of 1951, telling her that the "only person I can't show the little enclosed poem to is, of course, my father who doesn't know he's dying." After his father's death, the poem was included in the collection In Country Sleep. Ironically Dylan Thomas himself died just a year later. The poem discusses various ways to approach death in old age. It advocates affirming life up until the last breath, rather than learning to accept death quietly. < http://www.enotes.com/go-gentle >

Subject:

Dylan Thomas’ father had been a robust, militant man most of his life, and when in his eighties, he became blind and weak, his son was disturbed seeing his father become “soft” or “gentle.” In this poem, Thomas is rousing his father to continue being the fierce man he had previously been.

Literary devices:

The form on the poem is a villanelle, with a rhyme scheme alternating “night” and “day.” “Good night” is a metaphor and a pun. “Dying of the light” is a metaphor. “Old age should burn and rave” in line two is a combination of metonymy and personification. “Close of day” is a metaphor. “Burn” in that same line is used metaphorically, as is “dark” in line four. In line five “their words had forked no lightning” is metaphorical. Line eight “Their frail deeds might have danced in a green bay” employs personification and metaphor. Line ten “Wild men who sang the sun in flight” is exaggeration and metaphor. Line 11 “they grieved it on its way” is also exaggeration and metaphor. Line 13 “Grave” is a pun; “blinding sight” is an oxymoron. Line 14 “Blind eyes could blaze like meteors” is a simile. Line 17 “Curse, bless, me now with your fierce tears, I pray” is a paradox.

Commentary:

A villanelle is a French poetic form that originally served as a vehicle for pastoral, simple, and light verse. That Thomas would employ that form for the subject of death enhances the irony of beseeching a dying person to rage. No doubt the poet also chose this form because of the repetition of the important lines, “Do not go gentle into that good night” and “Rage, rage against the dying of the light” and because of the tight formal structure of the form. The subject matter which is the command to the father not to accept death so easily lends itself to the dichotomy of “day” and “night” which become somewhat symbolic for “life” and “death” in the poem.

Each of the six stanzas has uniformity and a specific purpose:

Stanza 1: The first line is a command, “Do not go gentle into that good night.” Paraphrased, “Don’t give up easily.” The second line offers the speaker’s belief that even when old and infirm, the man should stay energetic and complain if necessary as long as he does not give in to death easily. Then line three again is a command, “Rage, rage against the dying of the light”: Fight, complain, rail against the oncoming of death.

Stanzas 2, 3, 4, and 5 each try to persuade the father to “rage against the dying of the light” by offering evidence of what wise, good, wild, and grave men have done. For example and to paraphrase stanza 2: Even though wise men know that they cannot keep death away forever and especially if they have not accomplished their goals in life, they don’t accept death easily; they “Do not go gentle . . . .” Similarly, in stanza 3, good men exclaim what might have been, their “frail deed” might have shone like the sun reflecting off the waters of a “green bay,” and they, therefore, “Rage, rage” against the oncoming of death. Likewise, in stanza 4, wild men whose antics seemed to shine as brightly as the sun and who thought they were so optimistic, but later realized they spent much of their life in grief, still they “Do not go gentle . . . .” And in stanza 5, grave men whose eyes are fading fast can still flash life’s happiness, as they “Rage, rage . . . . ”

Stanza 6: The speaker addresses his father. Paraphrased, “And so my father you are nearing death—yell at me, scream at me, cry out; to see you do that would be a blessing for me and I beg you to show me that militant man you once were: “Do not go gentle . . . . ”

< http://poetry.suite101.com/article.cfm/dylan_thomas___do_not_go_gentle_ >

SONG: http://www.youtube.com/watch?v=maISWZ8Tpsc John Cale – “Do Not Go Gentle Into That Good Night” Live, 1987; with the Helmonds Concertkoor and the Metropole Orkest; from `Words For The Dying-The Falkland Suite´; poem by Dylan Thomas, produced by Brian Eno (6 minutes) READINGS: http://www.youtube.com/watch?v=ygvTW-6dH8g http://www.youtube.com/watch?v=PyWiE1vNSxU Dylan Thomas reading of Poem http://www.youtube.com/watch?v=mTv1Dmu5CYc&feature=related Rodney Dangerfield from Back to School http://www.dailymotion.com/video/x4n3oa_dylan-thomas-death-shall-have-no-do_music Dylan Thomas "Death Shall Have No Dominion"

Figures of Speech   Thomas uses a variety of figures of speech. Examples are the following:

Alliteration: go, good (Stanza 1); though, their (Stanza 2); deeds, danced (Stanza 3) sang, sun (Stanza 4); learn, late (Stanza 4); see, sight (Stanza 5); blinding, blind, blaze (Stanza 5). Note: Go and gentle do not alliterate; they have different consonant sounds.

Assonance: age, rave, day (Stanza 1); blaze, gay, rage (Stanza 5)

Metaphor: good night compared to death (Stanza 1)

Metaphor: Wild men who caught and sang the sun in flight (Stanza 4). Implied comparison of achievement to catching the fire of the sun and to singing triumphantly

Two Metaphors: words had forked no lightning (Stanza 2). (1) Words are compared to the cause of forked lightning. (See Notes and Comments for Stanza 2 for an explanation of the scientific term forked lightning.) (2) Lightning is compared to attention, notice--that is, the words had received no attention.

Metaphor/Personification/Metonymy: old age . . . burn . . . rave. (Old age represents and is compared to a person)

Metaphor/Personification: frail deeds might have danced

Oxymoron: good night (Stanza 1). Good death is oxymoronic if one does not view death as good.

Oxymoron: blinding sight (Stanza 5)

Oxymoron: fierce tears (Stanza 6)

Simile: blind eyes could blaze like meteors (Stanza 5)

Study Questions

    * Dylan Thomas advises his readers to "rage against the dying of the light." If he were alive today, what would he say about assisted suicide and euthanasia?

    * Thomas, though a popular poet in his lifetime, managed money ineptly and thus was always in financial trouble. Moreover, he drank to excess. Research his life, then answer this question: Do you believe his drinking was a misguided attempt to "rage against the dying of the light"? Or was it a sign that he had despaired and decided to "go gentle," under the influence of alcohol, "to that good night"? (Thomas died in New York City after drinking to excess.)

    * Have you ever "forked lightning"? (See Notes and Comments, above.) If so, write an essay about your experience.

    * In 1854, Henry David Thoreau wrote that "the mass of men lead lives of quiet desperation." Was Dylan Thomas writing about the same men as Thoreau when he wrote in Stanzas 2 to 5 that certain men "do not go gentle" because they had "forked no lightning" or because they "grieved" the sun on its way?

    * Write a villanelle that imitates the Thomas poem. Focus on a theme of your choice.

< http://www.cummingsstudyguides.net/Guides2/DylanThomas.html > Do Not Go Gentle Into That Good Night 1 Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light. Point of View: Thomas begins the poem with second-person point of view, telling his father and other readers to "fight till the last gasp," as Shakespeare said.  go gentle: Go becomes a copulative verb, permitting the use of the adjective gentle rather than the adverb gently. close of day: end of life good night: two meanings: (1) death, (2) goodbye light: will to live; spirit, soul, mind; hope 2 Though wise men at their end know dark is right, Because their words had forked no lightning they  Do not go gentle into that good night. Point of View: Thomas shifts to third-person point of view. Here he is making a declarative statement when he says wise men "do not go gentle." Sentence Structure: Whereas the first stanza contains three main clauses, the second stanza contains two subordinate clauses, beginning with though and because, and a main clause, beginning with they.  right: inevitable, unavoidable; natural forked no lightning: failed to command attention; failed to express a startling or revolutionary concept. In meteorology, "forked lightning" describes a lightning strike that divides into two or more branches resembling the roots of a plant--or, metaphorically, a fork. A common cause of the phenomenon is a second bolt that follows the path of the first bolt, then diverts away from it. Forked lightning is a spectacular sight; thus, words that "fork lighting" would be likewise spectacular. The poet Gerard Manley Hopkins (1844-1889) used the phrase "forked lightning" in a poem entitled "The Shepherd's Brow." Click here for pictures of forked lightning.  they do: example of enjambment 3 Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay,  Rage, rage against the dying of the light. Point of View: Thomas continues third-person point of view.  Sentence Structure: The stanza is a single declarative sentence.  Parallel Ideas: Good men has the force of wise men in the previous stanza. The message expressed in both stanzas is similar: Men facing death realize they could have done more and thus fight against the dying of the light.  crying: weeping or shouting  bright their: another instance of enjambment 4 Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on its way, Do not go gentle into that good night. Point of View: Thomas continues third-person point of view.  Sentence Structure: The stanza is a single declarative sentence. Parallel Ideas: Wild men has the force of good men in Stanza 3 and wise men in Stanza 2. The message is the same as in Stanzas 2 and 3.  Wild . . . flight: These men had their moment in the sun, so to speak. But they lived most of their lives in shadows, grieving over daily travails.  they grieved it: dismissed it; sent it. They did not seize the moment and capture what it offered them. 5 Grave men, near death, who see with blinding sight Blind eyes could blaze like meteors and be gay,  Rage, rage against the dying of the light. Point of View: Thomas continues third-person point of view.  Sentence Structure: The stanza is a single declarative sentence. Note that the word that is understood between the words sight and blind.  Parallel Ideas: Grave men has the force of wild men in Stanza 4, good men in Stanza 3 and wise men in Stanza 2. The message is the same as in Stanzas 2 and 3.  Grave men: Serious men. It seems that Thomas veers close to bathos here, for the words can be read as a prosaic pun.  blinding sight: an oxymoron to convey the idea that dying men with failing eyes see with illuminating insight blaze . . . gay: A blind man can see in other ways and even "blaze" with ideas and zest for life 6 And you, my father, there on the sad height,  Curse, bless me now with your fierce tears, I pray.  Do not go gentle into that good night.  Rage, rage against the dying of the light.  curse, bless: In effect, "if you cursed me, you would be blessing me." Cursing his son would show that he still has fire, spirit, the will to fight. Poems of Dylan Thomas, Copyright © 1952, 1953 by Dylan Thomas. Copyright © 1937, 1945, 1955, 1962, 1966, 1967 by the Trustees for the Copyrights of Dylan Thomas. Copyright © 1938, 1939, 1943, 1946, 1971 New Directions Publishing Corp.

Henry VI Part I : "

JOAN LA PUCELLE:

Why, no, I say, distrustful recreants!

Fight till the last gasp; I will be your guard.    (Act I, Scene II, Line 127)

…………………

Assign'd am I to be the English scourge.

This night the siege assuredly I'll raise:

Expect Saint Martin's summer, halcyon days,

Since I have entered into these wars.

Glory is like a circle in the water,

Which never ceaseth to enlarge itself

Till by broad spreading it disperse to nought.

With Henry's death the English circle ends;

Dispersed are the glories it included.

Now am I like that proud insulting ship

Which Caesar and his fortune bare at once.

Toby Keith’s “Crying for Me (Wayman’s Song)”

“Sorry you missed me
I’ll get back with you as soon as I can
Thank you and god bless”

Got the news on Friday mornin’
But a tear I couldn’t find
You showed me how I’m supposed to live
And now you showed me how to die
I was lost till Sunday mornin’
I woke up to face my fear
While I’m writing you this goodbye song
I found a tear

I’m gonna miss that smile
I’m gonna miss you my friend
Even though it hurts the way it ended up
I’d do it all again
So play it sweet in heaven
‘Cause that’s right where you wanna be
I’m not crying 'cause I feel so sorry for you
I’m crying for me

I got up and dialed your number
And your voice came on the line
That old familiar message
I heard a thousand times it just said
Sorry that I missed you
Leave a message and god bless
I know you think I’m crazy
But I had to hear your voice I guess

I’m gonna miss that smile
I’m gonna miss you my friend
Even though it hurts the way it ended up
I’d do it all again
So play it sweet in heaven
‘Cause that’s right where you wanna be
I’m not crying 'cause I feel so sorry for you
I’m crying for me

So play your upside-down, left handed
Backwards bass guitar
And I’ll see you on the other side
Superstar

I’m gonna miss that smile
I’m gonna miss you my friend
Even though it hurts the way it ended up
I’d do it all again
So play it sweet in heaven
‘Cause that’s right where you wanna be
I’m not crying 'cause I feel so sorry for you
I’m crying for me

I’m still crying
I’m crying for me
I’m still crying

Dangerous Minds’ “Dylan-Dylan Contest”

Challenge:  To find a Dylan Thomas poem & a Bob Dylan song alike in theme.

Thomas’ “Do not Go Gentle into That Good Night”

Dylan’s “Mr. Tambourine Man”

Do not go gentle into that good night,     Old age should burn and rave at close of day;     Rage, rage against the dying of the light.     Though wise men at their end know dark is right,     Because their words had forked no lightning they     Do not go gentle into that good night.     Good men, the last wave by, crying how bright     Their frail deeds might have danced in a green bay,     Rage, rage against the dying of the light.     Wild men who caught and sang the sun in flight,     And learn, too late, they grieved it on its way,     Do not go gentle into that good night.     Grave men, near death, who see with blinding sight     Blind eyes could blaze like meteors and be gay,     Rage, rage against the dying of the light.     And you, my father, there on the sad height,     Curse, bless me now with your fierce tears, I pray.     Do not go gentle into that good night.     Rage, rage against the dying of the light.

Hey! Mr. Tambourine Man, play a song for me,     I’m not sleepy and there is no place I’m going to.     Hey! Mr. Tambourine Man, play a song for me,     In the jingle jangle morning I’ll come followin’ you.     Though I know that evenin’s empire has returned into sand,     Vanished from my hand,     Left me blindly here to stand but still not sleeping.     My weariness amazes me, I’m branded on my feet,     I have no one to meet     And the ancient empty street’s too dead for dreaming.     Hey! Mr. Tambourine Man, play a song for me,     I’m not sleepy and there is no place I’m going to.     Hey! Mr. Tambourine Man, play a song for me,     In the jingle jangle morning I’ll come followin’ you.     Take me on a trip upon your magic swirlin’ ship,     My senses have been stripped, my hands can’t feel to grip,     My toes too numb to step, wait only for my boot heels     To be wanderin’.     I’m ready to go anywhere, I’m ready for to fade     Into my own parade, cast your dancing spell my way,     I promise to go under it.     (chorus)     Though you might hear laughin’, spinnin’, swingin’ madly across the sun,     It’s not aimed at anyone, it’s just escapin’ on the run     And but for the sky there are no fences facin’.     And if you hear vague traces of skippin’ reels of rhyme     To your tambourine in time, it’s just a ragged clown behind,     I wouldn’t pay it any mind, it’s just a shadow you’re     Seein’ that he’s chasing.     (chorus)     Then take me disappearin’ through the smoke rings of my mind,     Down the foggy ruins of time, far past the frozen leaves,     The haunted, frightened trees, out to the windy beach,     Far from the twisted reach of crazy sorrow.     Yes, to dance beneath the diamond sky with one hand waving free,     Silhouetted by the sea, circled by the circus sands,     With all memory and fate driven deep beneath the waves,     Let me forget about today until tomorrow.       (chorus)