Book Reports / "All Quiet on the Western Front" versus propaganda- a short paper on World War I [4]

Here is the prompt:
Compare the portrayal of Germans in American propaganda posters with the narrator and his companions in the excerpt from "All Quiet on the Western Front." Germans were also not exempt from propaganda; what cultural and ethnic stereotypes do German posters reveal? Using Remarque's work and the posters, explain why it is often essential to dehumanize the enemy in wartime.

1. Paper must be between 500 and 750 words
2. No slang, curse words, contractions, or colloquialisms allowed
3. The paper must be exclusively active voice
4. No hanging quotations or incorrect apostrophe usage

I want to make sure that this paper is as well formed as possible, since I need the extra points to take some pressure off of a final. Any help with grammar or fluidity/word choice would be appreciated. Thank you so much in advance!

Schisms of incomprehensible magnitude between the nations of Europe characterize the dawn of the 20th century. Despite the noble intentions of late 19th century nationalists, pride soon begat vicious state rivalries and separated European citizens between various flags and ideologies, creating national identities that fostered hate between opposing factions. By 1914, these rivalries manifested through the Great War, a conflict that destroyed millions of young men over the next four years. "All Quiet on the Western Front" by Erich Maria Remarque follows a group of young German soldiers, displaying their human frailties and dramatic disillusionment in the face of such brutal conflict. This depiction of humanity sharply contrasts with propaganda posters from the Great War that depict opposing groups as either "mad brutes" or weak and worthless individuals, devoid of human sentiments and unworthy of empathy (p. 364-365). Comparison of Remarque's work and Great War propaganda from both sides suggests a sometimes unseen casualty of war, namely empathy and human perspective. Unfortunately for mankind, effective warfare cannot be waged with empathy for an enemy in tow.

Remarque depicts the German soldiers as young men, fresh from school and ready to die for their country. War quickly robs them of their youth and innocence. Faced with the imminent death of their friend in a field hospital, the young boys must make peace with the loss and avoid agitating the dying friend in his last moments. Kropp, one of the young German soldiers, expresses this stress by unleashing a frantic and vicious string of profanity outside of the tent (p. 360). Kropp personifies the frailty of the human psyche in the face of war. Ironically, Kropp then reveals that the schoolmaster of the young boys writes to him, referring to the young soldiers as "the Iron Youth." According to the narrator, "We are none of us more than twenty years old. But young? Youth? That is long ago. We are old folk" (p. 360). Remarque portrays the German soldier as a human being, complete with a conscious that bears the scars of war. Unfortunately, the enemy overlooks these characteristics when developing war propaganda.

Popular anti-German propaganda of the time completely ignores any humane sentiments within the German military. One United States propaganda poster portrays the German military as a massive gorilla with Lady Liberty in his clutches. The caption reads, "Destroy this mad brute!" (p. 364). Posters such as this incite much anti-German fervor within the American populace, successfully associating the image of evil and savagery with a group of people no less human than the Americans themselves. The German propaganda machine of World War I is also efficient at dehumanizing the enemy. One German propaganda piece depicts racist stereotypes of each enemy nation, claiming that "[y]ou six aren't worth the waste of shot and powder" (p. 361, 365). Each stereotype of opposing forces displays not only the effect of war upon a societal view of others, but also of the over-zealous nationalist competition of the early 20th century that precipitated such a violent conflict in the first place. Once war ensues in 1914, this mutual hatred between nationalities becomes necessary for success as new recruits march to the front lines of a never-ending war of attrition. Without such a fervent hatred for the other side, little cause for such violence exists.

The Great War of 1914-1918 traumatized both the nations of Europe and the people involved. In All Quiet on the Western Front, Remarque portrays the soldiers of the Great War as innocent young boys trusting in an institution that sends them to die for vague ideals such as glory and patriotism. At the same time, their side and opposing factions pump out propaganda to suggest that these young soldiers are not human in any right, but instead savage beasts to be destroyed for the good of the world. This propaganda displays not only the detriments of nationalistic competition, but also perpetuates the war by inciting hatred that does not naturally exist between the groups of people. Unfortunately, the resulting animosity between the combatants in World War I exists to this day.

Research Papers / An analysis of European colonization through Orwell and Osterhammel [5]

Assignment: How does George Orwell's "Burmese Days" support some of the generalizations made by Jurgen Osterhammel in "Colonialism"? How does it deepen one's understanding of dual society, the European club, and colonial racism?

1. The teacher has a very strict grammar policy, and HATES passive voice, hanging quotations, contractions, improper apostrophe format, and other grammatical imprecisions. I did my best to omit these on this draft, but please let me know if I missed anything.

2. I want to make sure that I fully answered the question and fleshed out all of its parts, however, the paper can't be more than 750 words.

3. I know that the citation format is kind of imprecise, but it's the format that she requested so I just go with it, haha!

European colonialism dramatically altered the political and social landscape of its new territories. By the end of the 19th century, European "free trade" imperialism included much of Southeast Asia, the Caucasus, Central Asia, and Africa within a swiftly growing world mercantilist economy (p. 277-278). European entrepreneurs entered these developing colonies with the intention of dominating the native peoples, which swiftly alienated the two societies. Fear of native rebellion, as well as European perceptions of racial superiority prompted colonial leaders to form new "dual societies," in which natives were completely segregated from their white overlords (p. 278-279). These new, segregated societies completed the transition from a time of partnership to one of subordination in colonized lands. Jurgen Osterhammel's "Colonialism" outlines the social order and class rivalry present between European and native society during the colonial epoch. George Orwell's "Burmese Days" supports Osterhammel by looking into these dual societies within the context of fiction, portraying colonial racism and the establishment of exclusive "European clubs" that served to isolate native society from the social and political hegemony of Europeans. Taken together, "Colonialism" and "Burmese Days" provide a detailed account of European racism within dual colonial society through the exclusivity of the European club.

According to Osterhammel, European attitudes of racial superiority stemmed from Christian Eurocentrism, which made it seem base and wrong to maintain an equal relationship with non-Europeans (p. 279). This sentiment manifested itself through the British interregnum of Java from 1811-1816. According to the British, cultural mixing with Asians had infected the Batavian Dutch, necessitating a cultural decontamination. The British decreed that whites and mestizos must become "civilized Europeans," separating themselves from the barbarisms of the Javanese natives (p. 279). Orwell's "Burmese Days" mirrors this sentiment. The primary conflict within "Burmese Days" resides in a proposed "oriental" addition to the European club. Mr. Macgregor, a Club secretary, writes that Dr. Veraswami should be included within the ranks of the Kyauktada Club, despite being a non-European citizen (p. 285). Maxfield, one of the more vocal members of the group, immediately voices his distaste by saying, "Little pot- bellied n----s breathing garlic in your face over the bridge-table. Christ, to think of it! [We have] got to hang together and put our foot down on this at once" (p. 285).

Osterhammel's "Colonialism" also states that many Europeans detached themselves from the native environment, precipitating the formation of European clubs. One example of this detachment existed in India, where the British remained very separate from the indigenous populace. British cultural isolation intensified once the status of Eurasian Anglo-Indians had deteriorated after the 1780s. The European club served as an escape from that awkward existence, and guaranteed the British overseers a place where they could be not only separate from outsiders, but also superior in their own right (p. 279-280). Ellis, a character in "Burmese Days," personifies this detachment. Ellis demonstrates the perceived sanctity of the European club by describing it as ". . . the only place where we can enjoy ourselves" (p. 286). In the eyes of Ellis, the club represents an escape from colonial drudgery, and a last defense of European superiority.

"Burmese Days" and "Colonialism" both highlight the various tensions between European colonization forces and the indigenous peoples of the colony. Jurgen Osterhammel's "Colonialism" highlights this racial tension pervading dual society through an etic perspective and lists the effects of this tension upon Europeans, namely the inception of race-excluding clubs. Analysis of the sentiments displayed by fictional British characters within "Burmese Days" provides a fictional basis for Osterhammel's essay. Orwell's characters, on the whole, express extreme distaste for native peoples, which both fuels and necessitates a barrier between the two cultures. This barrier manifests itself through the European club organization, which allows no foreign incursion into its ranks. Threats to this sacred barrier incite vehement protest from many within the club, as well as vicious racism. Together, the two accounts of European and native dual society paint a portrait of violent racial tension that stretched the fabric of colonial society, the repercussions of which still plague the modern world.

Book Reports / Marriage in Europe and China- A comparative essay/ report on a book article [7]

The lives and exploits of women have largely been overlooked by most historical texts. Until forty years ago, historians assumed that feminine history was, "adequately covered by general history, which was largely the story of the exploits of men" (p. 157). More modern analysis of past events, however, tends to refute long held sentiments on femininity. Mary Jo Maynes and Ann Waltner's "Women and Marriage in Europe and China" contrasts the status of women in Confucian China and Christian Europe. Despite shared sentiments of patriarchy and female subservience between European Christianity and Chinese Confucianism, certain discrepancies between the religious and marital practices of the two cultures give Christian women an advantage over their Confucian counterparts.

While both European and Chinese societies placed the patriarch as head of the family unit, women in Europe did enjoy some assertions of autonomy. For example, according to the Catholic faith, a woman must be a willing spouse of the man. This loophole in male dominance allowed women in 16th century Europe to appeal to Catholic court systems in cases of coerced matrimony. Young women won such cases at a staggering rate (p. 149). The Confucian ideology provided no such loophole in arranged matrimony, as the rules of family formation were generally segregated from the influence of state and religious law (p. 150).

Marriage rate and age further separated Chinese women from the status held by their European counterparts. The Confucian family doctrine accentuated the strength of the male family head through marriage customs. In China, marriage was universal for all women and it occurred at an early age, before either party had the financial stability to exist autonomously. The newly-wed couple would traditionally live within the household of the groom's family, with new households only being formed upon the death of the groom's father. This practice promoted a hierarchy of male superiority within Chinese family units. Early marriage also served to limit feminine participation in the workforce, as Chinese women were only instructed in marriage and homemaking skills before being married off. (p. 152-153). European patriarchy, while still a dominant force, held less sway over the lives of women. Christian couples were expected to marry later in life, after first accruing the means to live and thrive separately from their parents (p. 150). This post-marital separation from parental authority allowed increased freedom for young men and women by giving them an opportunity to seek gainful employment during their unwed years (p. 151).

Despite the relative freedoms enjoyed by European women compared to their Chinese counterparts, the cultural values inherent in Confucian concubinage and Christian chastity each served to hold women as inferior. While virtually all Chinese women served to become brides, not all of them became "principal wives" (p. 153). Concubinage, although rare, supplied noble husbands with multiple women to have legal sex with independent of the principal wife. Concubines could be removed from their status at any time by the male owner, further establishing their status as a lover of convenience to the male and negating any hopes of equality in the relationship (p. 153). European women, although not subjected to the ignominy of becoming an additional spouse, were also subjected to certain cultural standards not applied to males. Although both men and women in European society were expected to live single lives for some time after puberty, only women were expected to remain virgins until their wedding day (p. 151). To maintain order, certain members of the unmarried male population would form a sort of "morals police," punishing deviance from acceptable practice with public shaming and ostracism from the "righteous" population (p. 151-152).

For the most part, women within Chinese and European society were at the bottom of the social hierarchy. Confucian ideals of early marriage, subservience to patriarchal authority, and the practice of concubinage placed women in a position of inferiority within their social spheres. Christian practices of arranged marriage and female specific chastity also served to marginalize women, although certain loopholes regarding church involvement in domestic affairs and later ages of marriage helped to give women a slight advantage over their Chinese counterparts. Analyses of such practices within different cultures serve to highlight important cultural relatives, and also to shed light on the day-to-day life of half of the world's population.

The assignment is as follows:

After reading Mary Jo Maynes and Ann Waltner's "Women and Marriage in Europe and China," can it be said that Christianity allowed European women more independence than Confucianism allowed women in China? Or vice versa? In which society was the patriarchal family more powerful, and what was the relative impact of patriarchy on women in both societies? How did the age and rate at which people married in each society compare? What was the importance of Chinese concubinage and Christian ideals of chastity?

- I can use the documents in question and ONLY those, cited with a page number (p. 213)
-The professor is a self proclaimed "grammar nazi", and is very strict against slang, curse words, contractions, colloquialisms, passive tense, use of apostrophes, and hanging quotes. This is a second draft, so I've tried to minimize these mistakes, but ANY insight into how I can improve that in addition to the flow and argument of my paper would be greatly appreciated.

-In the final paragraph before the conclusion, should I put the word righteous in quotations or leave it outside?

Thank you all so much in advance, all the papers I've put through here in the past were looked at exceptionally thoroughly.

Research Papers / Research Paper on Shakespeare's Iago [14]

The Dew That Rusts Them: Iago's character through spoken word
Shakespeare's Iago personifies misanthropy; he is a vicious and spiteful individual who succeeds in ruining Othello and all that he has worked so hard to create. Iago's greatest strength is as a catalyst of insecurities; a psychologist devoted to mental infirmity. Through superb manipulation of spoken word, Iago manages to gain a position of such great trust that he is granted free rein in the thought processes of whichever character he chooses. This position of reverence within Othello's circle provides for a virtually unassailable position of attack. Due to his one dimensional aspirations; however, Iago becomes one of the most human and fallible characters that Shakespeare designs. Iago's main downfall is his lack of true compassion and empathy for those around him; a flaw that leads to his undoing in the play's tragic conclusion. Through Iago's spoken discourse with Roderigo, Othello, Desdemona, Cassio, and Emilia, Shakespeare provides a depth of character unheard of for such a soulless villain.

Iago's character is quickly displayed in his conversations with Roderigo. In their first meeting, Iago reveals his hatred toward Othello for removing him from his post, as well as his animosity toward Michael Cassio for taking his post. Iago suggests that his only motivation to serve under Othello is to undermine him, by saying that, "In following him, I follow but myself;/ Heaven is my judge, not I for love and duty..." (I.i.58-59). Later meetings between Iago and Roderigo reveal the manipulative talent held within Iago. After failing to ruin Othello's relationship, Roderigo confides to Iago that he intends to kill himself. Iago immediately reassures Roderigo of his (Iago's) support and affection for him, showing a supportive and intuitive side that does not fit with Iago's soliloquies. Iago goes to great lengths to console the despairing Roderigo, saying, "I have professed/ me thy friend and I confess me knit to thy deserving with cables of/ perdurable toughness; I could never better stead thee then now" (I.iii. 330-332). This duality of demeanor is precisely what makes Iago such an effective villain. While harboring such poisonous resentments toward his fellow men, Iago consistently maintains a façade of honesty and good will that guarantees his free access into his victims' inner thoughts. Once Iago convinces Roderigo that they are good friends and share a love that would make suicide unthinkable, Iago convinces the gullible Roderigo to sell his property and collect the money for Iago's benefit (Haim and Da Verona 100-101). Indeed Iago reclaims his role as villain in the final lines of Act I, in which he reveals his true intentions to, "...time expend with such a snipe/ But for my support and profit..." (I.iii.366-367). Through soliloquy, Iago reveals that his only motivation to advise Roderigo is to use him as both a tool and a source of money. The cunning ruthlessness of Shakespeare's villain doesn't stop with Roderigo, as Iago furthers his dastardly plan of revenge.

In his dealings with Othello, Iago is truly a master of manipulation. Iago seeds suspicion within Othello's strong psyche and then affirms the suspicion by denying the charges while allowing Othello to believe that he originated the doubts. This mirroring and magnification of Othello's deep insecurities successfully stall any potential criticism or implication of Iago in the matter (Haim and Da Verona 101). Iago's first move is to pare down Othello's formidable self confidence. As Cassio and Desdemona speak, Iago plants his seed:

Iago: Ha! I like not that. Othello: What dost thou say? Iago: Nothing, my lord: or if- I know not what. Othello: Was not that Cassio departed from my wife? Iago: Cassio, my lord! No, sure, I cannot think it, That he would steal away so Guilty-like, Seeing you coming. Othello: I do believe 'twas he

(III. iii.34- 41).

Iago successfully captures Othello's interest by allowing Othello to take on the implied suspicion as if he discovered it alone. The implicit reaffirmation of Cassio's alleged conspiracy coupled with Iago's explicit denial of the claim ensures that Othello will be enslaved by the concept (Haim and Da Verona 101). Iago continues to beckon Othello into suspicion by mirroring Othello's musings on Cassio's character without any personal comment. For example, when Othello questions Cassio's motives, Iago merely asks, "Is he not honest?" (III. iii.103). As Othello desperately searches for some exterior proof that Cassio would not go behind his back; Iago not only fails to provide such proof, but his repetition of Othello's words serve to mirror and amplify the sentiment until Othello cannot construe it as anything less than fact. Then once Othello opens the subject of Desdemona's infidelity, Iago drops his subtle tactics by saying, "In Venice they do let heaven see the pranks/ They dare not show their husbands; their best conscience/ Is not to leave 't undone, but keep 't unknown" (III. iii.203-205). At this point, the floodgate has been opened; and Othello is set forth on a path free from logic or reason to prove Desdemona's infidelity and Cassio's insubordination. Iago's created conflict turns to Othello's undying obsession, and the tragedy of the play soon comes to fruition.

The revelation of Iago's character does not come solely from his talents in manipulation. In dealing with Cassio and Desdemona, Iago displays an ineptitude in compassion and social graces that is unbefitting for his character. Cassio kisses Iago's wife Emilia on the hand, and apologizes condescendingly by saying, "Let it not gall your patience, good Iago,/ That I extend my manners; 'tis my breeding/ That gives me this bold show of courtesy" (II.i.97-99). Implicit in this comment is that Cassio holds a rank above Iago in class, which greatly irritates Shakespeare's villain (Zender 329). Iago responds by shifting the embarrassment from himself to Emilia, saying that, "Sir, would she give you so much of her lips/ As of her tongue she oft bestows on me/ You would have enough" (II.i.100-102). Desdemona comes to Emilia's defense, and the two banter until finally Desdemona asks Iago, "What wouldst thou write of me, if thou shouldst praise me?" (II. i.118). With this comment, Desdemona places Iago in an inescapable situation where he must display kindness towards her. Desdemona's error in assuming that Iago is even capable of being kind for kindness sake displays Iago's true nature, perhaps better than in any other situation of the play (Zender 329). Iago inevitably fails to make any sort of kind remark towards Desdemona, instead choosing to mention that even the ugliest and stupidest of women can, "suckle fools and chronicle small beer" (II.i.160). Enraged by his own failure in communication, Iago promises himself to "gyve thee [Cassio] in thine own courtship" (II.i.168). Iago continues to salvage his own damaged ego by disregarding Cassio's moves as, "playing the sir", which demonstrates Iago's inclination to face his inadequacies with anger and denial (II.i.171; Zender 331). Further demonstrations of Iago's ineptitude in matters of the heart lie in Desdemona's very existence. Iago is a misogynistic individual, who prates on about the ability of a fine woman to do no more than keep the house clean. Desdemona, by contrast, is a lovely woman who expresses true and undying love for her husband, as well as a strength and independence that by its very nature makes Iago's point unjustifiable. Iago, being the observant individual that he is, recognizes Desdemona's existence as a dissonance to his belief system, putting her into the crosshairs of his unquenchable hatred (Zender 332). This hatred fuels Iago's intent to pit Othello against her, as he later impels Othello to, "strangle her in her bed, even the bed she/ hath contaminated" (IV.i.192-193).

Iago's failure to embrace the language of love and affection is further demonstrated in his dealings with Emilia. Emilia is a servile wife to Iago up to the very end of the story, but Iago treats her as if she was a dog, perhaps in an attempt to overcome his personal inadequacies (Zender 335). Even as Emilia unwittingly helps Iago in his plans to end Othello's security, Iago refers to his own marriage as, "...a common thing-...To have a foolish wife" (III.iii.302-304). Iago's abject refusal to acknowledge his wife's merit serves as his undoing in the play's final scene, when Emilia discovers Iago's plan and thwarts his escape from blame. Emilia cries out for authorities once she discovers Iago's wrong doing, claiming that, "'Tis proper I obey him, but not now" (V.ii.196). Rather than attempt to woo his wife from ruining him by a show of kindness (or even respect), Iago chooses to impose husbandly authority over Emilia, which is useless once Emilia recognizes who Iago truly is (Zender 335). As the situation escalates and the authorities arrive, Iago demonstrates his complete breakdown of control by killing his wife and vainly attempting to flee the scene. As he is forced to return, Iago demonstrates his utter failure with language by maintaining his resolve that," From this time forth I never will speak word" (V.ii.304). So passes one of Shakespeare's finest examples of conversational wit; Iago was among the finest in using language to ensnare and defeat the defenses of his enemies, but his ineptitude to use language as an expression of love served as his ultimate undoing.

Shakespeare's Iago is a ruthless villain; however, his strength in the processes of speech gives him unprecedented depth as an individual as well as an antagonist. Through ingenious and subtle manipulation of Roderigo and Othello, Shakespeare presents the image of Iago as a cunning surgeon of wordplay, able to turn his victim's thoughts against them as easily as if they were loaded pistols. This is not, however, the extent of Iago's character. Shakespeare suggests through selected discourse between Desdemona, Cassio, and Emilia that Iago is inept and insecure in feelings of affection and warmth. This inability to demonstrate love or affection towards others serves as Iago's downfall as he finds himself red handed at the scene of Desdemona's slaughter with no wordplay or confederate available to save him. Through the tragedy of "Othello", Shakespeare seems to suggest that the one dimensional man, be him good (Othello) or bad (Iago) are weak and subject to destruction at the hands of adversity.

The assignment is to write a research paper about a character from Shakespeare's "Othello", relating his verbal exchanges with other characters/soliloquies to his character while using external sources to set up a synthesis of research.

The paper is set up to be between five and seven pages, and mine arrives right at six. I'm not sure if I should omit some sections of his speaking and work harder at emphasizing other plot points, or if I should merely leave it as is. Any advice would be appreciated.

Writing Feedback / Poetry Analysis Essay: Dylan Thomas- "Do Not Go Gently into That Good Night" [2]

Analyzing Dylan Thomas's Promise: To Rage Against the Dying of the Light
"Do Not Go Gentle into That Good Night", by Dylan Thomas is a plea from a dying man's son to steel his reserve and fight against imminent death. Thomas begins by presenting the example of wise men that fight their impending death valiantly, despite knowing that defeat is inevitable. Good men also "rage against the dying of the light" (Thomas 9); a suggestion that Thomas hopes that his father will take to heart. Wild men war against their impending doom in an attempt to prolong their doomed existence, and grave men who stand on the threshold of oblivion still do not accept death with complacency. Dylan's plea extends so far as to encourage his father to, "curse, bless, me now with your fierce tears, I pray"( Thomas 17), making it obvious that Thomas is unconcerned with what his father chooses to fight for or against, as long as he makes a stand for something before he is extinguished. Dylan Thomas implements repetitive metaphors and strict form to underline the case he makes to his father; the gift of life should be passionate and valiant up to its last fleeting seconds.

Dylan Thomas's poetic form and usage of metaphors create a representation of all the men that he desires his father to emulate. Thomas begins by invoking the wise men who, "Because their words had forked no lightening they/ Do not go gentle into that good night"(Thomas 4-5). The wise men Thomas speaks of refuse to resign to their fates as dead men because they have not yet accomplished what they set out to do. Thomas's "lightening" is a representative metaphor of the goals set forth by the strong that serve as motivation to continue living robustly. By idolizing these wise men, Thomas implicates that he desires his father to emulate them; to press on toward anything that may at least give him some purpose besides waiting complacently for death to lower its scythe upon him. Thomas's use of other men as examples of a desired state for his father is repeated through each stanza of the poem. In Thomas's third stanza, he invokes the merits of "Good men, the last wave by, crying how bright/Their frail deeds might have danced in a green bay"( Thomas 7-8). These "good men" strive endlessly to make their mark on the world, unsatisfied with their subjectively "frail" deeds until finally death catches up with them. These men "rage against the dying of the light" (Thomas 9) because they have not yet met their goals, much like the wise men proceeding them. This passion for improvement and strength to persevere are exactly the qualities that Dylan Thomas begs his father to put forth, for Dylan's own sake as much as his father's.

Thomas's next template for his father's state lies in the merits of, "Wild men who caught and sang the sun in flight/And learn, too late, they grieved it on its way" (Thomas 10-11). Dylan desires his father to step forth and be optimistic, while ignoring the grief that besets men all through their existence. "Grieving it on its way" is a metaphor representing the pain and struggle endured by the men as they live their lives, which proves unimportant due to its discovery too late in life for it to be detrimental. Similar to the previous stanzas, these wild men serve as a representation of the behavior that Thomas beseeches his father to follow. The next stanza continues with the motif of valiant men. Wild men, in Thomas's estimation, "do not go gentle into that good night" (Thomas 12) because they love life so passionately. To have, "caught and sang the sun in flight/And learn, too late, they grieved it on its way" (Thomas 10-11) employs the metaphor of the sun's path as the journey of life, demonstrating that the wild men live fully and pay little attention to life's sad moments as they pass through them.

Thomas concludes his repetitive demonstration of ideals with those who knock on death's door. Grave men according to Thomas, even through their final moments, can "blaze like meteors and be gay" (Thomas 14). Thomas imparts this final simile to represent the happiness that the men look back on in their final moments of life, preventing them from feeling the despair and worthlessness that Thomas wants his father to steer away from.

Thomas concludes his poem with a final plea for his father to "Curse, bless, me now with your fierce tears, I pray" (Thomas 17). He cares not how his father display passion; he would sooner be hated by his beloved father then watch him die so far away from his past grandeur. "[F]ierce tears" serve as yet another metaphor for the indomitable character that Dylan wishes for his father to present. He concludes with a final request: "Do not go gentle into that good night. Rage, rage against the dying of the light" (Thomas 18-19). These final two metaphors link his desire for his father's behavior with the men Thomas described throughout the poem.

Dylan Thomas wrote, "Do Not Go Gentle into That Good Night" as a plea for his father to show the strength that he did in years past. Each man Thomas describes within his poem serves as a character reference for the type of man Thomas needs his father to be in his last days. Thomas first describes the virtues of wise men, who refuse to capitulate to death before they accomplish their lofty goals. Good men are next brought forth as a template for his father's behavior, who fight against death because they are unsatisfied with the marginal weight of their deeds in the world. Wild men extol virtues desired for Dylan's father as well, for they live life to the fullest capacity and refuse to succumb to the sadness that pervades human existence. As the final example and perhaps the most applicable, grave men, according to Thomas, spend their last moments on earth reminiscing about the happy moments of their past instead of sinking into a depressed stupor. The final stanza of Thomas's poem links all of these men's behaviors together and implores Thomas's father once more to stand up and fight against the darkness that will inevitably consume him. Through this tightly structured form and beautiful metaphors applied to each type of man as well as the father, Thomas makes his case known; he needs his father to be strong in his last days, not only for his own sake, but for Thomas's as well.

Works Cited
Thomas, Dillon. "Do Not Go Gentle into That Good Night." Literature and the Writing Process.
Ed. Elizabeth McMahan, Susan X Day, and Robert Funk. 8th ed. Upper Saddle River:
Prentice, 2007. 642.

The assignment is to analyze the poem in 3-4 pages, focusing on one to two literary elements that seem most significant to the work ( such as persona, tone, allusion, imagery, metaphor...etc). I feel like the introduction is clunky, and I'm not completely confident with the organization of the paper itself. Any advice would be appreciated, thanks in advance!