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

(a) What antithetic arguments are presented through the verses two articulatios?(b) How do the poems language and structure fetch to its meaning?(c) Write about another of Bronts poems that has a cobblers last or a farewell as its subject matter, making some comparisons with the poem in a higher place.(a) In this poem In the cosmos, the earth thou shalt be laid two adverse interpretive programs dispute the nature of death. The first warns of the grim finality and isolation of death. The sanction joint wel fuck offs death as the bringer of peace subsequently a brio of troubles, and opposes the argument of oblivion with the search of posthumous kind remembrance. The first voice returns in the last two stanzas insisting that death brings neck annihilation and observes that the first speaker will be mourned by only one and only(a) faithful individual.In the very first stanza, the first voice presents the encourage with the word picture of his sombre the lay of his bo dy, the codestone and the participation soil. The first voice talks of death as very final. It talks about the revoltingness of decomposition exemplar of deaths defiling bedBlack mould beneath thee spreadAnd black mould to cover thee.The consequence voice welcomes the prospect of death. In stanza two, the second voice interrupts, creating a more sanguine tone. The voice calculates to resign of death in Well, t present is rest there, and the welcoming of death is expressed in the second line. The hears this voice uses are by no government agency morbid. The second voice makes the argument that life is not slumberous and death is a time of great tranquillity and peace. It suggests death is a time when you and the environment come together as one. The twining of sunny hair with grass-roots suggests the intricate weaving of one life-from with another. The burial of fair hair takes down an implication of sunlight into the underlying darkness.The first voice returns in stanza thr ee. This voice objects that the rest which the second voice looks forward to is only the cerement rest of nothingnessBut chillyness, cold is that resting place debar out from Joy and Libertythither is no happiness of freedom in the oblivion and frontier of the tomb. The first voice talks of the cold of the grave and that it is a place without any happiness or pleasure. It then counters the more affirmative attitude towards death of the second voice by expressing the fear and revulsion felt by the lifespan towards the decaying of dead bodies and, therefore, the dead themselvesAnd all who loved thy life-time dependShall cringe from its gloom and theeThe seconds voice gives an emphatic rejection to the firsts ideas. It suggests that, far from cold being the trait of death, it characterises the falsehood of the world and tender-hearted relationshipsnot so, here the world is chillAnd sworn friends fall from meThis voice is very bitter about rejection. However, the hertz the tone then lightensBut there, theyll own me stillAnd prize my memoryIn death, he will be remembered and his expenditure recognised. He believes that his old friends from life will think of him fondly take down if they were indifferent to him when alive.The first voice concludes the poems in the last two stanzas. In stanza five he seems well-nigh contemptuousFarewell, then, all that loveAll that deep sympathyIt is well-nigh as if the first voice is dismissing the second as dead already. The nothingness of death is affirmed in a declaration of the immobility of heaven to human fate that is matched only by the indifference of the livingSleep on, heaven laughs above Earth never misses thee -In 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 faithfulOne heat broke, onlyIn conclusion, the two voices pop the question two altogether different 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 thought of people looking back fondly on his memory.(b) This poem, In the earth, the earth structure and language contribute a lot to the meaning of the poem. The six quatrains of this elegy are found 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 foot of each line helps to create the alarming solemn tone that suits the subject.In 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. Key words in this image are emphasised by means of repetition, a lliteration and word order. Thus the repetition of the earth in the first half of line 1 contributes to the setting of the melancholy, fatalistic tone. Alliteration in line 2 in stone standing builds on this. The repetition of black mould in lines 3 and 4 has a similar event, but here the mould not only refers to the soil, but to the decay of the human body itself within the earth. Black overly refers not only to the colour of the soul, but traditionally, in such a context, signifies death and mourning. But the full-length elegiac effect is largely achieved by the word order that creates the heavily spondaic rhythm.In stanza 2, the second voice shows resignation in the Well, there is rest there, and the welcoming of death expressed in the second line. Moreover, in contrast with the image of death in the first stanza of black earth the image in lines 3 and 4 is by no means morbid the sunny hair recalls life which is nurtured by sun, and the grass-roots refer to the means of life i n the soil. Thus the whole curious effect is the image of weaving them together of two forms of life. The rhythm is highly irregular, for example with the substitution of two dactyls. Again this is an of the essence(p) factor in achieving the different tone of the second voice. The only spondee in this stanza falls appropriately on grass roots.The first voice returns in stanza three. The repetition of But cold, cold echoes the fountain of stanza 1 (In the earth, the earth), and recaptures the contrasting tone. The voice objects that the rest which the second voice looks forward to is only the chill rest of nothingnessBut cold, cold is that resting placeShut out from Joy and LibertyThere 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 by the living towards the evidence of decay (the grave, that resting place) and by extension towards the dead themselvesAnd all who loved thy living faceShall shrink from its gloom and theeAlliteration in all, loved, living and Shall shrink lend suaveness to these lines, whose rhythm is more regular than the second stanza, thus giving this voice a more prosy tone and saving it from melodrama.In stanza four, the second voices emphatic rejection of the first is signalled by the opening negative Not so, and by the italicised antithesis of here and 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 relationshipsNor so, here the world is chillAnd sworn friends fall from meAssonance and alliteration (friends fall from) bind these lines and assist the emphasis. The rhythm also greatly contributes to this. The second foot of line 1 is a trochee, giving the italicised here appropriate stress. In line 2 three consecutive evince syllables (sworn friends fall) reinforce the bitterness of the debateion. But in the contrasting lines 3 and 4 the rhythm lightens into regular iambsBut there theyll own me stillAnd prize my memoryThe italicised there falls naturally on the stressed syllable of a regular iambic tetrameter. In death, he will be remembered and his worth recognised.The 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 contemptuousFarewell, then, all that loveAll that deep sympathyIt 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 livingSleep on, heaven laughs above Earth never misses thee -In 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 (One heartThat tone) and the spondees falling at the beginning of lines give the ending of the poem a heightened dramatic tone.(c) Another of Bronts poems that has a death or a farewell as the subject matter is Remembrance. bid In the earth, the earth this poem is an elegy the speaker in the poem reflects on the loss of the beloved. It consists of eight quatrains, whereas In the earth has only six, but like the above poem it is rhymed abab.This 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 back over the fifteen years since his death. The idea of the grave as cold and lonely reflects the ideas of the first voice in In the earth. The poet asks the lovers forgiveness for having forgotten him While the worlds heave is bearing me along. But preoccupation with worldly ma tters 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 In the earth in the linesOn heart broke only, thereThat heart was worthy thee -The poet then goes on to say how after a period of utter despair she deliberately turned away from grieving for him, learning to appease her existence even while 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 thereafter be unendurable.Like the first voice of the poem discussed earlier, this poem has a very slow rhythm and an intensely pitiable tone. Also like the other poem, repetition of key words such as far, cold and severed enforce their points. The imagery 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 retrospectionNow, when alone, do my thoughts no longer hoverOver the mountains on that northern shore Another similar effect Bront uses in both poems in repeating the opening of the poem. In In the Earth, she uses repetition to reflect the opening and also returns to imagery of the cold, isolated grave. In this poem, the first half of stanza three repeats the actual opening of the poem Cold in the earth. Ironically, this echoes the two uses of repetition used in the earlier poem In the earth, the earth and But cold, cold.Also, this poem talks about two completely different feelings towards the death of her lover, just as the two voices in In the earth compare two completely different views towards death itself.