Analysis and commentary on the poem, on death
On death
The pale, the cold, and
the moony smile
Which the meteor beam of a starless night
Sheds on a lonely and sea-girt isle,
Ere the dawning of morn's undoubted light,
Is the flame of life so fickle and wan
That flits round our steps till their strength is gone.
O man! hold thee on in courage of soul
Through the stormy shades of thy wordly way,
And the billows of clouds that around thee roll
Shall sleep in the light of a wondrous day,
Where hell and heaven shall leave thee free
To the universe of destiny.
This world is the nurse of all we know,
This world is the mother of all we feel,
And the coming of death is a fearful blow
To a brain unencompass'd by nerves of steel:
When all that we know, or feel, or see,
Shall pass like an unreal mystery.
The secret things of the grave are there,
Where all but this frame must surely be,
Though the fine-wrought eye and the wondrous ear
No longer will live, to hear or to see
All that is great and all that is strange
In the boundless realm of unending change.
Who telleth a tale of unspeaking death?
Who lifteth the veil of what is to come?
Who painteth the shadows that are beneath
The wide-winding caves of the peopled tomb?
Or uniteth the hopes of what shall be
With the fears and the love for that which we see?
By Percy Bysshe Shelley
1. Analysis and commentary on the poem
The poem that we are
going to comment on is called On death
written by Percy Bysshe Shelley (1792-1822). Its date of composition is
uncertain, although it is included in Shelleys early poems (1814,
1815). Furthermore, it was published with Alastor[1],
which is considered one of his first major works, in 1816.
First of all, let us
consider the metric and versification of the poem. It consists of five stanzas
of six lines each one and its rhyme is A B A B C C. Therefore, we find a
quatrain + a couplet. It presents an assonant and masculine rhyme (e.g. smile,
isle; night, light). Besides, according
to its poetic feet, it shows the iambic tetrameter.
A
useful starting point for this study is to clarify who and to whom the poem is
addressed. Personally, I think that the poet addresses his writing to the
people who is living all the calamities and difficulties that war entails,
since he wrote it in a period of conflicts and wars, as I will comment later
on. Actually, we see that he, in the second stanza, refers to a human being, a
person with these words:
O man! Hold thee on in courage of soul
Through the stormy
shades of thy wordly way
Second stanza (Lines
7-8)
Here,
the use of the noun man does not refer just to males, but it is used without
reference to sex. Besides, as we have seen, the author uses the personal
pronoun thee (l. 7) and the possessive adjective archaic thy (l. 8) to refer to the second person singular; that
is, to the human race or individual.
As I
have mentioned previously, the poet is expressing his feelings about something
that worries everybody: the death, especially, in the period and the society in
which he was living since when Percy Bysshe Shelley wrote this poem, several
confrontations that caused thousands of deaths were taking place in his
country, Great Britain[2].
As a result, he composed this poem, which is presenting that situation of
despair. Consequently, we see that his most concern has to do with death, as
the title of the poem shows: On Death.
In spite the fact that we find a pessimistic tone, mainly in the first stanza,
with the use of negative terms like pale (l. 1), cold (l. 1), starless (l. 2), lonely (l. 3), wan (l.5), we observe, later on, that he talks about
death from a realistic point of view.
To
illustrate it, we notice that in the fourth stanza, the poet assumes that when
we have died our body will disappear and we no longer will be able to hear, or to see (l.10) worlds continuous changes.
Furthermore, in the last stanza, he starts a sequence of rhetorical questions
about the mystery that lies beyond death.
Another
way of looking at this question would be to consider the use of imagery in this
poem. Certainly, the author uses them as an instrument to express his feelings
and as a way of reveal the meaning that is in the poem.
This
poem was written around 1815, when there were several conflicts and wars in
In
this poem, Shelley describes his unsatisfaction about life and is aware of how
nature determines human activity, using imagery to intensify these feelings.
The
first lines suggest a feeling of sadness and impotence. It is expressed with
adjectives like pale, cold and moony (l. 1), or with expressions such as starless night (l. 2), which paints a picture of darkness, danger
and fear in front of the unknown. Besides, in the third line, the idea of a lonely and sea-girt isle emphasizes the feeling of solitude and helplessness in
a dangerous world. My own view of this is that it represents the society of
that time; that is the human being, alone, surrounded by water, i.e. by anything, with any comfort and any help,
facing the difficulties and troubles that wars entail.
It
seems to me that the expression a starless night (l. 2) is full of connotations. On one hand, starless could be associated with emptiness, a lack of hopes
and a loss of strength and vitality, as if all aspirations and desires in a
human being had disappeared. On the other hand, a starless night could represent human soul, which is empty of hopes
and dark because of the emptiness and the lack of light that someone needs to keep going in life. Actually,
people at that time had to face really hard struggles and most of them,
eventually, lost their courage, falling into a situation of resignation,
fatalism, discouragement and darkness, or what is the same, metaphorically,
into a starless night (l. 2).
Similarly
to the idea expressed above, there is one significant line in the first stanza
that I would like to focus on:
Is the flame of life so fickle and wan
That flits round our
steps till their strength is gone
First stanza (Lines 5-6)
Again, we perceive that
idea of loss of light, of vitality and of strength that is needed to be able to face all the adversities that we find in
life. Moreover, this line shows the pessimistic attitude of the poet in front
of life, as he claims, from my point of view, that joyful moments in our lives
are so infrequent that they go as quick as the fleetingness of a flame. Here,
definitely, we appreciate a clear metaphor.
The use of imagery that
the poet makes can be illustrated with more examples. In particular, the image
of the stormy shades (l. 8) as well as the billows of clouds (l. 9) again points to the obstacles and misfortunes
that human being has to confront in certain moments of his life.
What is more, the image
of hell and heaven (l. 11) is also very
relevant. On one hand, the hell could be associated with the world, the society of
the time, where to live becomes a complicated and undesirable task. On the
other hand, heaven would be the state of
grace, calmness and peace, a place that everybody would like to visit and
experience after dying, especially when someone is suffering, as the people
that the poet refers to in his poetical text or the poet himself.
The third stanza
presents a clear metaphor, in which the world is considered our nurse and our mother:
This world is the nurse of all we know,
This world is the mother
of all we feel
Third stanza (Lines
13-14)
In this sense, the poet suggests that we are
protected by the world, as nurses and mothers take care of their children; that
is, of us. However, there is not the slightest evidence to justify such a claim
because if the world is supposed to look after us, why are there so many
helpless or abandoned people?
Afterwards, in the same
stanza, the poet introduces a meaningful image: nerves of steel (l. 16). Steel is usually associated with something tough, strong,
resistant. Therefore, if we attribute this quality to our nerves, it means that
we pluck up courage, that we are strong enough to face lifes difficulties, although there are really hard hits that cannot be faced
and death is one of them. In consequence, the steel of our nerves is melted and all our strength
goes. In other words, most of us are afraid of death and even if we have a
strong attitude in front of adversities, we fall down with the arrival of
death.
Similarly, the author
employs, in the fourth stanza, another image that can be considered of interest
to us. He refers to the eye with the adjectives fine-wrought eye (l. 21). Fine implies to have good eyesight and wrought is used to express firmness, emphasizing the situation of vigilance of
human being just in case any danger, risk or peril crosses his path. In this
sense, having an observant view you can act with a great foresight. But what
the poet wants to show is that when we die, this fine-wrought eye disappears and we no longer are able to see neither what is happening
in the world nor its constant changes.
Now, let us consider
some other figurative devices that we find in this poem. For instance, in the first line, we
appreciate an accumulation and enumeration of adjectives to describe the smile: pale, cold and moony. I wonder if Shelley means to suggest that the smile
of human beings showed their sadness and suffering because of their misfortune
situation.
We also observe
alliteration in lines 5 and 6 with the repetition of the consonants f and s in words such as flame, of, life, fickle, flits and is, so, flits, steps, strength, is. All this repetition of consonants in nearby words
goes to show Shelleys lyrical ability, as it gives the poem a certain
melody. In fact, Shelley was considered among the finest lyric
poets of the English language[4].
What is more, we find
assonance in the second stanza, particularly in lines 9 and 10: billows, clouds, around, roll and wondrous. This repetition of vowel sounds in a short passage of a verse gives a
musical quality of a song to the poem, as it happens with the alliteration
exemplified above.
Another interesting
figure is the use of synonymy along the poem. For instance, adjectives like pale (l. 1) and wan (l. 5); nouns such as grave (l. 19) and tomb (l. 28) or other adjectives as wondrous (l. 10, 21) and great (l. 23).
We also appreciate an
isocolon in the third stanza, which shows a clear parallelism in successive
clauses:
This world is the nurse
of all we know,
This world is the mother
of all we feel
(Lines 13 and 14)
Moreover, the repetition
of the same structure in the example above also presents an evident anaphora,
as both sentences begin with the same words This world is the
. Then, what Shelley attempts is
to emphasize words. In addition, another isocolon is found in the fourth
stanza: All that is great and all that is strange (l. 23).
We also notice this figure in the last stanza,
when the poet is asking himself a series of questions, repeating, at the
beginning of three successive lines the same word: who, and the same structure (question form + verb +
direct object + complements):
Who telleth a tale of
unspeaking death?
Who lifteth the veil of
what is to come?
Who painteth the shadows
that are beneath [
]?
Last stanza (L. 25, 26
and 27)
It is also significant
the repetition of the preposition of along the poem. It appears in almost all lines of the poem: flame of life (l. 5), courage of soul (l. 7), shades of thy wordy way, billows of clouds (l. 9), light of a wondrous day (l.10), universe of destiny (l. 12), etc.
Personally, I think it is used to express and emphasize the nature, condition
or quality of something.
Another figure to
consider is the antithesis that appears in the second stanza: hell and heaven (l. 11). They are opposite terms that are contrasted
in order to create on the reader a feeling of contradiction or incompatibility.
Besides, there is an expression in the same stanza that could also be
considered an antithesis: sleep in the light (l. 10), as the author
is contrasting two ideas: the idea of darkness that sleep denotes and the idea of light.
The expression O man! that appears in the second stanza (l.7), could be
regarded as an apostrophe, since it is addressed to a person not present, i.e.
to the human being in general. Or maybe, it also could be addressed to the poet
himself, showing his state of suffering, as a kind of lament.
Furthermore, we observe
the presence of two polyptotons. Firstly, we find the noun life (l. 5) and the verb live (l. 22), and, secondly, we see that the poet uses the adjective fearful (l. 15) and the verb fear (l. 22). In both cases, we observe the repetition of words derived from
the same root.
In the last stanza, we
perceive a series of rhetorical questions that could be considered aporias, as
they are unsolvable questions. That is, the poet introduces them in order to
create a specific effect on the reader. He does not really want them to be
answered. In fact, they incorporate the reader into the poem and make him to
reflect on life after death.
I would like to remark a fact that has
attracted my attention. It is the continuous use of verbs of sense along the
poem. To illustrate it, we find feel (l. 14, 17), see (l. 17, 22, 30) and hear (l. 22). It shows the sensitivity of the poet, who
emphasizes his emotions and feelings using this type of verbs.
Another interesting
point to talk about is the use of connotative words that give us negative and
positive feelings. In this sense, we find words that give the poem a sense of
darkness and it helps the author to express his interior feelings. They are
terms such as starless (l. 2), stormy shades (l. 8), sleep (l. 10) which could be related with the eternal sleep of a dead person-, soul (l. 7), the billows of clouds (l. 10), shadows (l. 27) and caves (l. 28). In fact, all these words reflect the authors feelings towards lifes difficulties and adversities.
However, there are some
words that contrast with this darkness: beam (l. 2), dawning (l. 4), morn (l. 4), light (l. 4 and 10), flame (l. 5) and life (l. 5). Then, we could ask, why does the author use all this terms
related to light? It is probably because the poet wants to show us that we
actually need to look at others faces to check that we are not alone, as it has been
said in class. Light give us a sense of life; contrary to darkness. In other
words, where there is light, there is life, whereas where darkness is present,
death is nearby.
Another interesting
point to comment on would be the whole expressions used in fourth stanza by the
poet. When we read it, we notice the sadness and the deception of the author,
as if the idea of leaving this world would disturb him since it would
incapacitate him of being a witness of the world unlimited changes. In other
words, it could be considered a kind of lament for the separation of man from
the divine forces of nature. To illustrate it, we find, for example, in lines
21- 24:
Though the fine-wrought eye and the wondrous ear
No longer will live, to
hear or to see
All that is great and
all that is strange
In the boundless realm
of unending change.
Fourth stanza
According to the
symbolism used in this literary work, it is important to consider some terms
that could be related with the main topic of the poem: the death. For instance,
we could conceive words such as brain (l. 16) or frame (l. 20) as symbols of death since they are parts of
our body that disappear when we die. In fact, it is said in an interesting web
page that human skulls and human skeletons are frequent symbol of death, found in many cultures and
religious traditions[5]. Other symbols of death could also be the synonyms grave (l. 19) and tomb (l. 28).
Personally, I feel that
the poet is expressing his impotence in front of death. He talks about our most
fearful destiny: the death and he does it from a realistic point of view.
It seems to me that the
power of nature is so strong that the poet feels small and unable of avoiding
that dreadful fact which is death. He talks about it as an inevitable reality.
He feels alone in a cloud world where survive becomes a difficult task. But at
the same time he encourages people who are in an obscure or complicated
situation as he is. He wants these people to move over from the darkness in
which they are and see the world from a positive perspective. This is
reflected, especially, in the second stanza:
O man! Hold thee on courage of soul
Through the stormy
shades of thy lordly way,
And the billows of
clouds that around thee roll
Shall sleep in the light
of a wondrous day
Second stanza (l. 7, 8,
9 & 10)
Furthermore, he agrees
on letting the destiny to make our way but giving to human being the freedom
that is deserved.
In the third stanza, he
considers the world as our nurse (l. 13) and our mother (l.14). This means that everything we know and everything we feel is
due to the knowledge and feelings that the world, i.e. our mother, has given to us.
In the same stanza, he
mentions the main topic of the poem: the death. Certainly, he knows that it is,
inevitably, our destiny, as he mentions in the previous stanza. However, he
guesses that it is a terrible hit to anyones brain, even if it is
made of nerves of steel (l. 16), which means
that human being tries to harden himself in front of the idea of death. In
other words, we try to refuse any thought about it, about losing everything: all that we know, or feel, or see (l. 17). In particular,
the poet talks about life as if it was an illusory enigma. Moreover, he thinks
about what will happen to us when we have died: we will disappear, our body,
our eyes, our ears, but the world will continue changing. Assuming that, he
regrets not being able to observe and be a witness of what will happen in the
world after we die.
Finally, he makes
himself a series of questions about death and the shadows of it. If I
understand the poet rightly, he is reflecting upon the sense of life and the
secret things that are hidden in the shadows of death. He is curious of destiny
and makes some rhetorical questions in order to clarify his ideas of what is to come (l. 26). Although he is afraid of death, he wants to
know everything about it. That is his greatest mystery.
After having analysed
and commented on the poem, I can assert that it is a poem that was influenced
by different factors of Shelleys society, as it was
written in a period of conflicts and wars: the American War of 1812 and the War
of Napoleon I of
Moreover, Shelley lived
all new changes that the Industrial Revolution generated. In fact, almost every
aspect of daily life and human society was eventually influenced in some way by
this revolution. For instance, there were changes in agriculture, manufacturing
and transportation due to the introduction of machineries, canals and railways.
Besides, the urbanization and the movement of the population from the rural
areas to the cities were also significant.
Although all this events
and some other personal tragedies affected Shelleys writings, he continuously showed his fortitude and originality.
Percy Bysshe Shelley
belongs to the Romantic Movement, which was originated around the middle of the
18th century in
After reading and
studying about the poet and his writings, I have observed Shelleys fascination with occult issues as death -which is the main theme in
our poem-, or other hidden aspects related to
science or philosophy, or spiritual reality. In fact, his first publication was
a gothic novel: Zastrozzi
(1810).
In 1815, he wrote Alastor or The Spirit of Solitude which
is a verse allegory and one of his first major poem. Actually, the poem we have
analysed, On death, was
published with this work.
I have found an
interesting quotation[8]
in which the author claims that his influences were mostly
life experiences. However, it is obvious that his continuous readings
also influenced his writings. In this sense, some contemporary poets that
influenced Shelleys writings were, for example, Wordsworths poetry;
Byron or Keats, whose death inspired Shelley to write Adonais (1821)[9].
From
his major work, The Revolt of Islam
(1817), Shelley drew on the classic tradition.
Another important fact
in Shelleys life, during this period, was his association with
other Romantics, as it is explained more detailed in books such as English literature 1740-1830 and Romantics, rebels & reactionaries.
English lit. and its background 1760-1830. There, it is said that
Shelley joined Byron, Keats, Peacock, Hazlitt and Hunt, creating a defined
literary group based on their revived classical ideas.
They were the English
liberal writers of the post-war period. In consequence, they were less
optimistic than their pre-war precursors. Although On death belongs to his early poems, we already appreciate
that man is much less considered as the centre of the poem, occupying his place
Nature.
In conclusion, it seems
to me that Shelley, in the whole poem, shows his apprehensions of death and his
own fears of how it will contribute to his disappearance of the world, which
will continue changing. Then, he recognises his secondary position in front of
the powerful natural world. Actually, everybody has a feeling of fear and
restlessness when talking about death and at the same time we regret not being
able to see world future changes.
It cannot be denied that
death is the greatest mystery in life, in the past and even nowadays. The term shadows, which appears in this poem, could be an image of
that enigma, as death is something that we cannot imagine and make a clear idea
of it, i.e. it has an abstract form in our mind that we would like to visualize
but we know that it is impossible. Actually, that is what makes death such a
mystery. The question what after death? is the most worrying
question anyone can ask himself. Certainly, it is a questionable matter as it
depends on people believes. It is important to bear in mind that Shelley was
against Catholicism. Therefore, he understood death differently from catholic
people.
What I am trying to
assert is that On death is a
poem that reflects about a issue which is and will be of interest forever as
death is something that worries everyone.
In this sense, it does not matter if the poem was written in the 19th
century, in a period of conflicts and wars, as it has the same value in the
present and it will have the same meaning in the future. Indeed, it shows a
part of life that always will concern human being: the mystery of death and
nature continuous changes.
Bibliography
· Percy
Bysshe, Shelley. Complete Poetical Works. Ed. By Thomas Hutchinson.
Updated by G. M. Matthews.
· Benedict,
Barbara M., et al. English Literature 1740-1830. Ed. By Thomas Keymer
and Jon Mee.
·
· Matthews, G. M. Writers and their
Works. Shelley. Longman Group Ltd.
· Battisini,
Martina. Sνmbolos y alegorνas. Electa. Barcelona. 2003.
Webgraphy
[1] This poem is available on http://www.bartleby.com/139/shel112.html,
(Access date, 18/1107).
[2] I will
comment on this point later on, putting the poem in relation with the society
and historical moment in which it was published.
[3] Ideas taken from http://en.wikipedia.org/wiki/Romanticism.
[4] Idea directly taken from http: //en.wikipedia.org/wiki/Percy_Bysshe_Shelley (Access date, 14/11/07)
[5] Idea taken from http://www.bookrags.com/wiki/Symbols_of_death (Access date,
[6] All
references to society and history are based on the ideas contributed by
Benedict, Barbara M., et al. in English Literature 1740-1830; Butler,
Marilyn, in Romantics, Rebels & Reactionaries. English literature and
its background 1760-1830 and to http://en.wikipedia.org/wiki/Industrial_Revolution (Access date, 22/11/07).
[7] This
definition is directly extracted from http://en.wikipedia.org/wiki/Percy_Shelley
[8] This quotation is extracted directly from a
web page in which it is explained Shelleys poem The Revolt of Islam (1817). Actually, the quotation appears
in the preface of this poem.
Web page: http://en.wikipedia.org/wiki/The_Revolt_of_Islam (24/11/07).
[9] Information taken
from http://en.wikipedia.org/wiki/Percy_Bysshe_Shelley
(Access date,