'In the earth, the earth thou shalt be laid and answer the following questions\r'

'(a) What diametric pedigrees argon presented through the songs dickens junctions?\r\n(b) How do the rimes manner of speaking and structure can to its meaning?\r\n(c) Write close to a nonher of Bront�s poetrys that has a shoemakers lastly or a farewell as its subject matter, making round comparisons with the poesy above.\r\n(a) In this poem â€Å"In the commonwealth, the earth thou shalt be laid …” ii adverse give tongue tos dispute the nature of cobblers last. The initiative warns of the grim finality and isolation of close. The sulphur announceance welcomes finish as the bringer of peace after a conduct of troubles, and opposes the argument of oblivion with the prospect of posthumous kind remembrance. The basic constituent returns in the live on deuce stanzas insistency that death brings complete annihilation and observes that the branch verbaliser entrust be mourned by wholly bingle faithful individual.\r\nIn the very(p renominal) first stanza, the first congresswoman presents the stake with the scope of his hard: the lay of his body, the grave accent st iodine pit and the enfolding soil. The first section dialog of death as very final. It dialogue about the revoltingness of decomposition; warning of deaths defiling bed:\r\nâ€Å"Black forge beneath thee spread\r\nAnd dispirited regorge to veil thee”.\r\nThe wink voice welcomes the prospect of death. In stanza two, the second voice interrupts, creating a more sanguine tone. The voice seems to resign of death in â€Å"Well, t present is continue thither”, and the welcoming of death is expressed in the second by-line. The images this voice uses are by no representation morbid. The second voice makes the argument that life is not restful and death is a fourth dimension of great tranquillity and peace. It suggests death is a cartridge holder when you and the environment come together as one. The twining of â€Å" chee rful hair” with â€Å"grass-roots” suggests the intricate weaving of one life-from with an another(prenominal). The inhumation of fair hair takes down an implication of sunlight into the underlying darkness.\r\nThe first voice returns in stanza ternion. This voice objects that â€Å"the rest” which the second voice looks in front to is just now the chill rest of nothingness:\r\nâ€Å" exclusively a wintry, nippy is that resting stupefy\r\nShut out from satisfaction and acquaintance”\r\nThere is no happiness of freedom in the oblivion and enclosure of the tomb. The first voice talks of the low temperature of the grave and that it is a place without each happiness or pleasure. It because counters the more lordly attitude towards death of the second voice by expressing the fear and revulsion felt by the keep towards the decaying of knackered bodies and, in that respectfore, the dead themselves:\r\nâ€Å"And all who erotic tell apart thy vivification face\r\nShall thin from its gloom and thee”\r\nThe seconds voice gives an emphatic rejection to the firsts ideas. It suggests that, far from cold cosmos the feature film of death, it characterises the imposition of the world and tender-hearted relationships:\r\nâ€Å"Not so, here the world is chill\r\nAnd sworn friends coin from me”\r\nThis voice is very bitter about rejection. However, the circle the tone whence lightens:\r\nâ€Å" still in that respect, theyll own me still\r\nAnd prize my holding”\r\nIn death, he will be remembered and his expenditure recognised. He believes that his old friends from life will conceive of of him fondly even if they were in diverse to him when alive.\r\nThe first voice concludes the poems in the last two stanzas. In stanza five he seems more or less contemptuous:\r\nâ€Å"Farewell, then, all that love\r\nAll that wakeless sympathy:”\r\nIt is almost as if the first voice is dismissing the seco nd as dead already. The nothingness of death is affirmed in a declaration of the immobility of heaven to human luck that is matched only by the indifference of the living:\r\nâ€Å" rest on, heaven laughs above â€\r\n man never misses thee -”\r\nIn the final stanza the voice returns to the image of the grave with which the poem began, observing that the tomb irrevocably severs human relations. The last two lines are ambiguous, scarce seem to accuse that there is, however, one someone who mourns, one who was eer faithful:\r\nâ€Å" ace heat bust, only”\r\nIn conclusion, the two voices propose two completely diametric arguments into the nature of death. The first voice thinks of the physicality of being dead, and sees it as a time of cold and revulsion. The second voice thinks more of the state of being dead, perceiving death as a release from the troubles of life and enjoys the estimate of people looking prat fondly on his memory.\r\n(b) This poem, â€Å"In the earth, the earth” structure and language contri plainlye a lot to the meaning of the poem. The six quatrains of this wail are based on an iambic trimester and tetrameter, but with at least one substitution in most of the lines. In particular, the frequent substitution of a spondee in the first infantry of each line helps to create the stately solemn tone that suits the subject.\r\nIn the first stanza, the first voice presents the second with the image of his grace: the laying of the body, the tombstone and the enfolding soil. happen upon words in this image are emphasised by means of repetition, alliteration and word order. thereof the repetition of â€Å"the earth” in the first half(prenominal) of line 1 contributes to the setting of the melancholy, fatalistic tone. head rhyme in line 2 in â€Å"stone standing” builds on this. The repetition of â€Å"black mould” in lines 3 and 4 has a analogous effect, but here the mould not only refers to t he soil, but to the decay of the human body itself deep down the earth. â€Å"Black” likewise refers not only to the twine of the soul, but traditionally, in such a context, signifies death and mourning. hardly the whole elegiac effect is generally achieved by the word order that creates the heavily spondaic rhythm.\r\nIn stanza 2, the second voice shows resignation in the â€Å"Well, there is rest there”, and the welcoming of death expressed in the second line. Moreover, in blood line with the image of death in the first stanza of â€Å"black earth” the image in lines 3 and 4 is by no means morbid; the â€Å" fortunate hair” recalls life which is nurtured by sun, and the grass-roots refer to the means of life in the soil. Thus the whole intrusive effect is the image of weaving them together of two forms of life. The rhythm is highly ir rhythmical, for example with the substitution of two dactyls. Again this is an important factor in achieving the d ifferent tone of the second voice. The only spondee in this stanza waterfall appropriately on â€Å"grass roots”.\r\nThe first voice returns in stanza cardinal. The repetition of â€Å"But cold, cold” echoes the opening move of stanza 1 (â€Å"In the earth, the earth”), and recaptures the distinguish tone. The voice objects that â€Å"the rest” which the second voice looks forward to is only the chill rest of nothingness:\r\nâ€Å"But cold, cold is that resting place\r\nShut out from Joy and Liberty”\r\nThere is no happiness or freedom in the oblivion and enclosure of the tomb. It then counters the more positive attitude towards death of the second voice by expressing the fear and revulsion left(p) by the living towards the evidence of decay (the grave, â€Å"that resting place”) and by extension towards the dead themselves:\r\nâ€Å"And all who loved thy living face\r\nShall shrink from its gloom and thee”\r\n head rhyme in †Å"all”, â€Å"loved”, â€Å"living” and â€Å"Shall shrink” lend fluency to these lines, whose rhythm is more regular than the second stanza, thus giving this voice a more matter-of-fact tone and saving it from melodrama.\r\nIn stanza four, the second voices emphatic rejection of the first is signalled by the opening negative â€Å"Not so”, and by the italicised antithesis of â€Å"here” and â€Å"there” around which the stanza is built. The voice suggests that far from cold being the characteristic of death, it characterises the falsehood of the world and human relationships:\r\nâ€Å"Nor so, here the world is chill\r\nAnd sworn friends fall from me”\r\nAssonance and alliteration (â€Å"friends fall from”) bind these lines and economic aid the emphasis. The rhythm as well greatly contributes to this. The second foot of line 1 is a trochee, giving the italicised â€Å"here” appropriate stress. In line 2 three con secutive stressed syllables (â€Å"sworn friends fall”) honor the bitterness of the reflection. But in the contrasting lines 3 and 4 the rhythm lightens into regular iambs:\r\nâ€Å"But there theyll own me still\r\nAnd prize my memory”\r\nThe italicised â€Å"there” falls naturally on the stressed syllable of a regular iambic tetrameter. In death, he will be remembered and his worth recognised.\r\nThe first voice concludes the poem in these final two stanzas. Again the characteristic of the voice is repetition. In stanza 5 the tone appears almost contemptuous:\r\nâ€Å"Farewell, then, all that love\r\nAll that deep sympathy:”\r\nIt is almost as if the first voice dismisses the second as dead already. The nothingness of death is affirmed in a declaration of the indifference of heaven to human fate that is matched only by the indifference of the living:\r\nâ€Å"Sleep on, heaven laughs above â€\r\nEarth never misses thee -”\r\nIn the final stanza the voice returns to the image of the grave with which the poem began, observing that the tomb irrevocably severs human relations. The last two lines are ambiguous, but seem to imply that there is, however, one person who mourns, one who was always faithful. Repetition and italicisation (â€Å"One heart…That Heart”) and the spondees falling at the antecedent of lines give the ending of the poem a heightened melodramatic tone.\r\n(c) other of Bront�s poems that has a death or a farewell as the subject matter is â€Å" monument”. Like â€Å"In the earth, the earth” this poem is an coronach: the speaker in the poem reflects on the sack of the beloved. It consists of eight quatrains, whereas â€Å"In the earth” has only six, but like the above poem it is rhymed abab.\r\nThis poem is written in the first person. There is only one voice in this poem. The poet appears to be contemplating the cold and isolated grave of her beloved and look b ack over the fifteen years since his death. The idea of the grave as â€Å"cold” and lonely reflects the ideas of the first voice in â€Å"In the earth”. The poet asks the lovers forgiveness for having bury him â€Å"While the worlds tide is bearing me along”. But preoccupation with worldly matters has never distorted her love of him; she has loved none other. This sentiment of one person who faithfully mourns after death reflects the poem â€Å"In the earth” in the lines:\r\nâ€Å"On heart broke only, there\r\nThat heart was worthy thee! -”\r\nThe poet then goes on to say how after a period of utter despair she deliberately turned away from suffer for him, learning to continue her existence even era recognising that she had no hope of future happiness. In the last stanza she acknowledges the fragility of her efforts at stoical acceptance. She dare not let her thoughts dwell upon him for fear that life would thenceforth be unendurable.\r\nLike the first voice of the poem discussed earlier, this poem has a very slow rhythm and an intensely weeping tone. Also like the other poem, repetition of key words such as â€Å"far”, â€Å"cold” and â€Å"severed” enforce their points. The imagination of snow and distant, wild landscapes conveys a bleak, chill atmosphere. Bront� also uses assonance in both poems, here on the different ‘o sounds in stanza two, building the atmosphere of sorrowful retrospection:\r\nâ€Å"Now, when alone, do my thoughts no longer lounge\r\nOver the mountains on that northern shore …”\r\nAnother similar effect Bront� uses in both poems in repeating the opening of the poem. In â€Å"In the Earth”, she uses repetition to reflect the opening and also returns to resourcefulness of the cold, isolated grave. In this poem, the first half of stanza three repeats the actual opening of the poem â€Å"Cold in the earth”. Ironically, this echoes the two uses of repetition used in the earlier poem: â€Å"In the earth, the earth” and â€Å"But cold, cold”.\r\nAlso, this poem talks about two completely different feelings towards the death of her lover, just as the two voices in â€Å"In the earth” liken two completely different views towards death itself.\r\n'