Comparing Death in Poetry - Reseacrh Paper

This is a research paper for my Introduction to Literature class.  The paper compares and contrast the form, style, and content of the following two poems:
Because I Could Not Stop For Death - Emily Dickinson
Do Not Go Gentle Into That Good Night - Dylan Thomas

 

Comparing Death in Poetry

Summer Calandra

LIT 100: Introduction to Literature

Instructor: Alex Vuilleumier

January 27, 2014

There are many different feelings about death. It is probable that no two people feel the same way or believe the same thing.  The fact that our day is unknown makes the topic of death a popular one amongst writers who seek to make sense of their own emotions, and in so doing, help readers to make sense of theirs too.  Emily Dickinson, author of Because I Could Not Stop for Death and Dylan Thomas, author of Do Not Go Gentle into that Good Night are two well-known and revered poets for their eloquent capture of such emotions. Both of these poems explore the themes of death and the acceptance of it, though the feelings about death in Because I Could Not Stop for Death are calm and reflective whereas in Do Not Go Gentle into that Good Night the feeling are of a passionate rebuttal.

            Because I Could Not Stop For Death, by Emily Dickinson, is a narrative lyrical elegy of a woman’s experience with death. Despite the morbidity of the topic, the tone is not somber (Joly, 2002). Rather, the tone in this poem is thoughtful and lighthearted.  This is made evident by the many literary tools that Dickinson employs, such as personification, symbolism, and her stylistic uses of assonance and alliteration. Perhaps one of the most notable uses of personification is in the very first two lines of the poem “Because I could not stop for Death, He kindly stopped for me” (as cited by Clugston, 2010, sec. 12.3). The capitalization of death makes this word a proper noun, an indication that Dickinson intends to portray death as a person.  There is further evidence of this when she refers to death as “he” who stopped for her, giving death once again a proper noun and the human ability to stop and pick her up. Considering death as a person is an important element in the speaker’s relationship with death, and thus the mood, in this poem.  Seeing death as a man makes him less fearsome, particularly in the way he “kindly” stops for her.  Personifying death also humanizes the experience of it, making it more acceptable and less abstract.  For example, many people find it hard to imagine their death as there are so many questions that cannot be answered in life – how will it happen, when, and what comes next? Humanizing death makes the experience more relatable.

Further in stanza one is the introduction of a carriage which she rides in with death and immortality.  Immortality, like death, is personified with capitalization.  The presence of immortality is better understood at the end of the poem, yet in stanza one, immortality’s presence suggest the need for a chaperone to accompany a woman and a gentleman, as was customary in the time this this poem was written (Joly, 2002).  In this sense, there is an implied comfort and trust in riding with death and immortality, not just for the consideration death makes in stopping for her, but the formality and recognition of propriety as well. Dickinson also suggest that the woman, having accepted the ride from death, is now within death’s realm and therefore immortality is present just as mortality would accompany life should such a carriage also exist.  

            The ease in accepting the ride in death’s carriage is continued to be felt in stanza two when the speaker begins to relate her experience.  “We slowly drove, he knew no haste, and I had put away / my labor, and my leisure too, for his civility” (as cited in Clugston, 2010, sec. 12.3). She explains that she has willingly put aside her work and her free time to accept death, as death was polite enough to show chivalry. This reiterates the tone of lightheartedness and acceptance, yet at the same time, the imagery presented begins to build a feeling of suspense.  The reader is made aware of the fact that there is a comfort in deaths presence with the use of the word “we” (we slowly drove) yet in the same line, Dickinson switches to “he” (he knew no haste), which reminds us that death is in charge and that she is at his mercy. Such use of language helps to understand the theme of the death’s control – that death comes when it may despite how unprepared one may be for it. 

            Further imagery is presented in stanza three, as the carriage passes school children playing at recess, a field of grains, and the setting sun.  In the four lines of this stanza, Dickinson uses several literary tools.  The words “we passed” are an anaphoric reference to the journey of life.  Such repetition draws the attention to the meaning in what they are passing and the fact that it is being left behind.  The children playing are symbolic of childhood – the first stage of life.  Ironically, the children are said to “strove” rather than play at their “recess”, calling attention to the fact that they too are unaware of the passage of time while their minds are on their labor (strove) and leisure (recess), much like the speaker was when death came for her. They pass next “the field of grazing grain” a reference to midlife.  The grains have passed seed, come to full fruition, and appear ready for harvest. This is symbolic of the establishment and continued obligation that is typical in middle age. There is maturity, yet further need to fulfill (harvest) ones duty. In the final line of this stanza they pass “the setting sun” once again a symbol of the life cycle. The setting sun in this case brings closure to the image of the speaker’s life. The fact that the sun sets after the image of the grains allows the reader to assume that the speaker is not in her elderly years as no symbolic imagery for old age is presented, yet another implication that death has come before it was expected. The set of the sun also assumes an increase of darkness and creates a rising feeling of morbidity. The suspense at this point builds but the rhythm and sounds of the words suggest the speaker remains calm, as evident by the use of alliteration: “grazing grains” and “setting sun”. Alliteration, or the repetition of the initial consonant sounds of two or more words, is an effective device in drawing attention to particular words and creating desired moods (Clugston, 2010).  The suspense continues to elevate as the reader can assume darkness is drawing in, a lifespan has been passed, and the carriage shows no sign of gaining speed nor stopping. With immortality in tote time is no longer of the essence.

            A slight change in the tone is presented in the next stanza, as the speaker suggests that rather than the carriage and its occupants passing the setting sun, the sun past them.  This reference infers that not only is the pace eerily slow, it is also a delivery into the supernatural.  The sun is personified in its passing of them, making evident that they are no longer within the confines of the cycle of life, but that they are now beyond that point where the sun no longer rises and sets indicating time stands still – a direct reference to the role immortality takes. Not surprisingly a chill is upon them causing her to quiver in her sheer clothing. Referencing a chill, or feelings of being cold in literature, is symbolic of death, a ghost, and the afterlife. “The dews grew quivering and chill, for only gossamer my gown, my tippet only tulle” (as cited by Clugston, 2010, sec 12.3). Again, Dickinson uses alliteration to draw attention to the speakers clothing.  Her gown is gossamer, a fine sheer material, as is her shawl made of tulle.  These garments are evidence that death has surprised her and come when she was unprepared, which is central in the theme of this poem.

            The destination of the carriage becomes obvious in the fifth stanza of the poem, when death arrives at a grave.  The poem refers to this as “a house that seemed / a swelling of the ground; the roof was scarcely visible, the cornice but a mound” (as cited in Clugston, 2010, sec 12.3). This is strong visual of a freshly dug grave, though instead of referring to it as such, the speaker calls it a “house”.  The avoidance of morbid words like grave, cemetery, or tombstone keeps the tone lighthearted and conveys an acceptance of the change. The particular choice for “house” insinuates an active presence that the speaker will take there rather than a final resting ground.  An active presence then implies life after death, or rather, immortality: a companion that was introduced in the first stanza of the poem.  In finalizing the poem, Dickinson reveals that the speaker has been dead for centuries and is narrating the story as a thoughtful reflection on the day she “first surmised the horse’s heads / were toward eternity” (as cited in Clugston, 2010 sec 12.3).  The poem ends on the word eternity leaving the reader pondering the word and considering, once again, the many points that the poems theme makes. Death takes us whether we are ready or not and is but a passing from one existence to another.

            In a sense, Because I Could Not Stop for Death romanticizes the passage from these existences (life to immortality) by the personification of death as a gentleman that has lured her into its chariot, much like that of Greek mythology. The theory of life after death, or rather, existence after death is a common notion, one that is feared as much as it is relished.  For instance, in Christianity it is thought that after death one’s soul is either delivered to heaven or to hell.  In this sense, the immortality in Dickinson’s poem is the eternity spent in either place.  Ironically, immortality is presented in this poem as an eternity in death, rather than eternal life. This is a rather subjective point though as the personal perspective of the speaker is not made available.

            Similarly, the central theme in Dylan Thomas’ poem Do Not Go Gentle into that Good Night is death, though the tone and attitude towards death are completely opposite of Dickinson’s poem. The poetic form is lyrical elegy, which according to Clugston (2010), lyrical poetry “expresses a poet’s thoughts and imagination. Its melody and emotion create a dominant, unified impression” (sec. 11.3, para. 1). As such, much of the content in this poem can be considered subjectively. The writing style is less straight forward as his ideas are presented metaphorically with striking visuals that rely greatly on one’s interpretation to form an understanding. The diction Thomas used in this poem sets the tone and is central to conveying the theme and its meaning.

            For instance, the first line of the poem “Do not go gentle into that good night” (as cited by Clugston, 2010, sec. 12.3) is a strong statement that seems to contradict itself if it were to be taken denotatively.  There seems little reason to not go gentle into something that is good. However, when followed by the next line of the poem: “Old age should burn and rave at close of day” (as cited by Clugston, 2010, sec 12.3) it becomes more apparent that “go gentle” and “good night” are to be taken connotatively and are symbolic of the dying process.  The mention of old age alerts the reader to the fact that death is even more imminent.  The references to day and night are symbolic of life and death, as seen also in Dickinson’s poem. However, there appears to be more contradiction in old age burning and raving against death.  It is natural to assume that at the end of a long life, old age would prefer a gentle slip into a good – or welcomed - death.  Thomas asserts otherwise; he generalizes that old age should not give into the ease and comfort of death, but rather should contest violently against it. At this point in the poem, the reader is left uncertain as to why Thomas makes such unnatural declarations. It is not until the last line that the reader is made aware of the personal stake that the speaker has in his demands for life. If for any reason the subject of death is unclear, the last line in the first stanza makes the strongest and clearest statement of all.  “Rage, rage against the dying of the light” (as cited by Clugston, 2010, sec 12.3).  There is powerfully felt passion in this line, so much so, that this line is widely quoted for its impact and depth of feeling. The repetition of the word rage accentuates the desperation for the fight against death, though there is as much pleading in the delivery of the line as there is commandment. This duality draws attention to the deep rooted weakness and power that coexist in the human spirit.

            The next four stanzas of the poem present the speakers argument for preserving life with the mention of four types of men: wise, good, wild, and grave. These men are generalized, just as old age was, asserting that despite the life that such men have lead, they too refuse to accept death in their old age.  Beginning with wise men, the speaker states that such men “at their end know dark is right” (as cited by Clugston, 2010, sec 12.3), a notion that the speaker acknowledges the hypocrisy of denying death.  Though despite such knowledge wise men do not go gentle “Because their words had forked no lightening” (as cited by Clugston, 2010, sec 12.3), meaning they have not managed to make great changes to society and therefore refuse to die. Good men are mentioned next for their good deeds, but that the frailty of their deeds failed to have a more beautiful setting to shine in, and as a result, they too should rage against the dying of the light (Lord, 2002). Thomas uses figurative language to make this point by describing a bay that the deeds might have danced in had they had the chance. The use of the word “forked” with the wise men followed by “frail” with the good men swing the visuals, and the sound of his words, from rough and punitive to gentle and meek. Again there is a contradicting duality in the words that Thomas uses, alluding once again to the nature of the human spirit. He continues this figurative language in the argument for wild men, stating that wild men, having late regrets for their reckless actions, do not succumb to death.  Nor grave men, whereas in their poor health even blind eyes “blaze like meteors and be gay” (as cited in Clugston, 2010, sec 12.3). In using the first simile in this poem, Thomas asserts that blind eyes still find purpose. An example that, regardless of the physical inabilities that accompanies old age, there is no limit to the happiness that life can offer and that it is not only possible to defy death, but to do so with a “blaze” – an unapologetic conviction.   Thomas generalizes these four types of men either to point out that all men find themselves into one of these categories, or that each description is characteristic of one man in particular.

            The poem closes with an apostrophe as Thomas speaks directly to his dying father which confirms that he has a personal stake in the matter.  His feelings are addressed literally when calling to his father at the “sad height”. Height in this sense is a metaphor implying his father’s closeness to death (Lord, 2002). Such emotions are further presented through the paradoxical words in the next line, “curse, bless, me now with your fierce tears” (as cited in Clugston, 2010, sec 12.3). To be cursed and blessed are powerful opposites and propose the ambiguity that Thomas feels in accepting his father’s eventual demise.  Thomas begs his father for tears as evidence that he will fight against death, a blessing, but yet a curse as his selfishness overcomes his father’s needs.  The final words of the poem are once again “rage against the dying of the light”, a blatant cry to his father to not gently pass away (BBC, 2008). The repetition ends the poem fiercely, yet leaving it open without a sense of closure. There is no response to his argument against death. This leaves the reader to assume what happened, though the outcome is less of a concern in this poem since life’s outcome cannot be avoided. 

            It is evident that despite the shared theme of death there are more contrasting issues between these two poems than there are similarities. Dickinson’s poem is a female speaker discussing the day she accepted death after she already died, while in Thomas’ a speaker is crying out against the death of his father, arguing that all men in old age must fight fiercely against their inevitable “good death”. Thomas’ speaker, presumably male, addresses his father directly in what appears to be his father’s last days or hours of life. The two extremes, calm acceptance and adamant rebuttal of death are seen in these poems. Consequently, the entire tone and imagery that the reader is presented with is oppositional as well.  In Because I Could Not Stop for Death, death is personified into that of a chivalrous male seducer whom she appreciates for his consideration in stopping for her (Engle, 2002).  In Do Not Go Gentle into that Good Night, death is clearly the enemy and that which must be avoided at all costs.

Dickinson and Thomas differ in form and style as well, though they have similar qualities in iambic qualities.  Dickinson’s poem is a narrative lyrical elegy and is longer than Thomas’ as she uses short lines that break her thoughts up in a rhythmic fashion. She has an elliptical style that requires the reader to pay close attention to the implications of her metaphors, symbols, and other devices. Rather than being thorough in her explanations, she leaves plenty of room for interpretation. Her writing is formal and controlled with every other line in her quatrains switching from either four iambic feet (iambic tetrameter) to three feet (iambic trimeter), though the formality of her style is muted slightly by the casual tone she takes in her diction. The emphasis Dickinson places on the sound and rhythm of her work lightens the delivery of the morbid theme. Dylan Thomas’ poem is also considered lyrical poetry, through the structure is villanelle – a nineteen line poem made up of five tercets and one quatrain (Cengage, 2014). The meter in the poem is iambic pentameter as each line in his poem has ten syllables, breaking it down into five iambic feet.  Like Dickinson’ poem, the iambic rhythm adds to the flow of the poem, though the difference in iambic meter makes Thomas’ sound much more long winded in comparison to Dickinson.  This adds to the gravity and seriousness of his tone and accentuates the plea he makes to his father. The lack of quick closure to his sentences is evidence to this as short bursts of thought would not adequately dictate the complexity of his grief. His diction is full of hard hitting visuals with rough verbiage.  He avoids smoothness in his work, thus reinforcing distress and sense of unease he emotes.

These poems differ in rhyme as well. Dickinson’s rhyming, while consistent and expected, changes word families every stanza while Thomas’ rhymes throughout the entire poem stay in the same family as “night”, the last word on the first line and “day” the last work of the second line.   The use of these rhymes throughout are not coincidental; Thomas uses them to reiterate the contrasting feelings of life and death.  Ironically, despite the message to battle death that the speaker presents, not once does the word “fight” get used in the rhyme scheme.  Yet where they differ, these poems once again find themselves alike as such avoidance of direct verbiage in expression is similar to the style Dickinson uses as well.  Dickinson too avoids the direct reference of the issue as she replaces the word “grave” with house at the end of her poem. 
            Continued similarities are found in their stylistic use of literary tools.  Both poems have a heavy use of metaphorical imagery and personification of death and objects presented to the reader. The use of nature in such figurative language is found in both poems as well, as Dickinson describes the scenery she passes in the carriage while Thomas uses nature to point to specific feelings he seeks to address.  Additionally, both poems use day, night, light, dark, and the sun as a symbol of life and death.  These symbols are common in literature and provide a universal understanding.  Addressing the theme through the use of symbols such as night and day add layers of emotion and complexity in their contrasting natures.  Metaphorically, day and night also represent the opposition or acceptance towards death that teeter back and forth in the human spirit.  This acceptance or opposition is a shared theme of both poems.

            Emily Dickinson’s poem speaks about human nature.  Often time, we are too busy to realize that death is coming whether we are prepared for it or not.  Likewise, for many people Thomas’ poem is easy to emphasize with, as it is likely most people have, or will have, to experience the loss of a loved one.  Though once again we expect this as the inevitable, the way we come to accept death differs from situation to situation and person to person. The themes in these two poems both revolve around such acceptance. Emily Dickinson’s poem offers feelings of reflection upon the day she allowed death to guide her to eternity.  She expresses calm acceptance of death, whereas Dylan Thomas’ poem grieves the likely loss of a loved one as it pleads and argues that old age should not be reason to accept death – old age should rage against this finale.

References

Cengage, G. (2014). Literary Style. eNotes.com. Retrieved from http://www.enotes.com/topics/go-gentle/in-depth#in-depth-style.

Clugston, W. R. (2010).  Journey into literature.  San Diego, CA: Bridgepoint Education, Inc.  Retrieved from https://content.ashford.edu/books.

BBC. (2008). Dylan Thomas: Do Not Go Gentle Into That Good Night.  Retrieved from http://www.bbc.co.uk/wales/arts/sites/dylan-thomas/pages/do-not-go-gentle.shtml

Engle, P. (2002). Dickinson's BECAUSE I COULD NOT STOP FOR DEATH. Explicator, 60(2), 72. Retrieved from http://web.ebscohost.com.proxy-library.ashford.edu/

Joly, R. (2002). Because I could not stop for Death. Masterplots II: Poetry, Revised Edition, 1-2. Retrieved from http://web.ebscohost.com.proxy-library.ashford.edu/

Lord, R. (2002). Do Not Go Gentle into That Good Night. Masterplots II: Poetry, Revised Edition, 1-3. Retrieved from http://web.ebscohost.com.proxy-library.ashford.edu/

Shmoop Editorial Team. (2008, November 11). Because I could not stop for Death Summary. Retrieved from http://www.shmoop.com/because-i-could-not-stop-for-death/summary.html

Reading Response to Poetry - Not Waving But Drowning (Essay)

This is a personal response essay for a literature class.  I had to add more specific thoughts in the way of my personal response than I would have like to.  I had to stretch a little to satisfy the grading rubric.  It feels a bit trite at some points because of that.

This is not my finest piece.  I wrote this quickly and am now catching typos and errors in my word selections.  However, since this blog is a collection of my written work as I progress through my degree program, I prefer to not fix the errors as they represent the quality of the work I produced, submitted, and was subsequently graded on.

The poem I selected to respond to is below, followed by my full essay.


Not Waving But Drowing
By Stevie Smith

Nobody heard him, the dead man,
But still he lay moaning:
I was much further out than you thought
And not waving but drowning.

Poor chap, he always loved larking
And now he's dead
It must have been too cold for him his heart gave way,
They said.

Oh, no no no, it was too cold always
(Still the dead one lay moaning)
I was much too far out all my life
And not waving but drowning.

Reading Response to Poetry

            Poetry is meant to evoke strong reactions and emotions out of its readers.  The poem Not Waving But Drowning by Stevie Smith does just that.  In only twelve lines this short poem discusses the circumstances of a man’s death while the author’s use of literary elements alludes to much deeper issues concerning how he lived as well as how he died. As a reader I found Smith’s use of language, the content of her poem, and the theme it seeks to express engaging and interesting as they make the poem relatable to many real life circumstances in today’s society.

            The language that Stevie Smith uses in her poem is casual and easy to read. Unlike many poems, the flow of Smith’s words are somewhat conversational.  The conversational elements in this play are brought out by the use of three different personas: a speaker, the dead man, and an unnamed and unspecific group of outsiders that are meant to represent the dead man’s friends, or perhaps more appropriately, mere acquaintances (Mallot, 2003). They seem to respond to each other by interjecting their thoughts or comments back and forth, both creating an ease in the sentence structure as well as bringing new perspectives, and consequently, further insight, to the reader. This ease in words makes the tone neither too serious nor too casual; rather, the tone is neutral.  The exception to this neutrality is the voice of the dead man who adds an element of sadness. This sadness is felt in his “moaning”, while everyone else speaks with more objectivity and lack of genuine sentiment. For instance, in the second stanza the dead man’s supposed friends are said to say “Poor chap, he always loved larking” (as cited in Clugston, 2010, sec. 10.1). While the words poor chap express an element of sympathy, there is a serious lack of heartfelt emotion over his death.  The lack of emotion adds to the tone of neutrality while also reinforcing the assumption that they are mere acquaintances and not true friends.  As a reader, I can almost imagine these people gossiping in a group about the man’s death before abandoning the topic for a conversation about the weather.  Meanwhile, an outside speaker states that the man’s “moaning” is unheard, suggesting that the speaker is slightly sensitive to it (Clugston, 2010).  Overall, the conversational language of the speaker and the man’s acquaintances, despite slight sensitivity and light sympathy, lack any emotion thus creating a tone of neutrality with underlined sadness that the man’s moaning is not heard and his death is not genuinely cared about.

            Since the tone does not reflect great depth of emotion and significance, the content of her poem becomes ever more important in understanding the underlined issues in the life, and death, of the man. The dying man says that he was “much further out than you thought / And not waving but drowning” (as cited in Clugston, 2010, sec. 10.1), which is symbolic to how he lived while presenting imagery to how he died, simultaneously.  The distance that is mentioned and the reference to drowning tells the reader that the man is out on a frozen lake that he has fallen into. One can surmise that the lake is frozen as his acquaintances are next quoted saying that his heart must have stopped due to the cold (Clugston, 2010). From a distance away a drowning man in the water could easily be misinterpreted as a man waving on top of the ice.  It is the distance between his acquaintances that begin to allude to the isolation that the man must have felt in his life. There is a feeling of yearning to be acknowledged that the man has in his unheard words.  The sense of deafness that the acquaintances have to the dead man is understood as they do not acknowledge his statement that he is “not waving but drowning” by their assumption that he must have been “larking” (joking). Such deafness is metaphorical of the lack of communication and acknowledgement the dead man had in his relationships with others while his physical distance from them is symbolic of the emotional distance from them he must have felt in life (Civello, 1983).  The symbolism of drowning, implying the presence of water that is understood as a symbolism for emotion, conveys the overwhelming emotional turmoil that his isolation causes him. The word “drowning” is also used connotatively as a reference to depression, the inability to help one’s self, and loneliness.  His acquaintances fail to notice that the dying man was “much too far out all my life” (as cited by Clugston, 2010, sec. 10.1), which, in addition to a neutral tone, ignite my sympathy as a reader.  He obviously tried to communicate his needs his whole life but was unable to break through a wall of indifference.

            The theme of this poem is loneliness and silent suffering in today’s society.  This theme is presented by the symbolism and deafness of the dying man’s words and the subsequent lack of genuine sympathy and caring felt by the acquaintances.  The hint of sensitivity that the speaker appears to have makes me, as a reader, sensitive to the theme as well. It is not uncommon for people to feel misunderstood, mute, and distanced from the people in their life. This poem suggests that we as a society ought to examine our relationships and take more consideration of each other. Perhaps the person we think we know, the joker for instance, is hurting inside and seeking to be heard and understood. I am reminded of the many connections that I have made throughout my life. Many friendships were more like acquaintances with very little consideration of one another’s feelings being considered.  Some relationships never went beyond surface level and common courtesy.  Smith’s poem mocks the trite way people relate to each other – often times we are blind to each other’s suffering and needs.

            I am drawn to this poem for the simplicity of the words and the complexity of their many meanings. Just as the imagery in the poem suggests, I imagine the theme of Smith’s poem to be much like a frozen lake: a still and quiet surface that hides what lies beneath.  I would venture to guess that everyone can relate to being misunderstood or feeling alone at some point in their life.  Smith’s use of language, content, and the theme of her poem are effective tools for not just capturing my imagination, but also evoking my sympathies and awareness that this may also be an issue in the lives of those around me. 

 

References

Civello, C. A. (1983). Smith's NOT WAVING BUT DROWNING. Explicator, 42(1), 58 Retrieved from http://web.ebscohost.com.

Clugston, W. R. (2010).  Journey into literature.  San Diego, CA: Bridgepoint Education, Inc.  Retrieved from https://content.ashford.edu/books.

Mallot, J. (2003). Not Drowning But Waving: Stevie Smith and the Language of the Lake. Journal Of Modern Literature, 27(1/2), 171-187. Retrieved from https://content.ashford.edu/books.

 

                

 

Theme Analysis of Jean Rhys short story "Used to Live Here Once"

To read the short story I am analyzing, try a Google search for: Jean Rhys "Used to Live Here Once".

Analysis of Theme and Literary Elements

            The short story “Used to Live Here Once” by Jean Rhys is full of symbolism. So much so that nearly every reader can gain a different perspective of the story’s theme.  The story begins with an un-named protagonist stepping over stones as she crosses a river, then walking along a familiar road to an old house that she once resided it.  Upon finding the house she takes notice of two children under a mango tree.  After several failed attempts to speak with them the story ends with her coming to a realization of her spiritual existence. This short story can be considered an allegory, as it has both literal and figurative elements that contribute to the understanding of the theme (Encyclopedia Britannica, 2013). Though it is not directly specified, the tone, setting and symbolism in this story infer that the protagonist is deceased, and therefore presents the theme of the story as the journey into spirituality and the loneliness and separation of such a condition.

            The short story is narrated in a third-person limited omniscient perspective.  According to Clugston (2010), “It is called a limited omniscient point of view when the thoughts and feelings of only one of the characters are related through the narrator” (sec. 5.2, para. 3).  The only feelings that are expressed are those of the protagonists and are dictated from the perspective of an onlooker rather than from the character herself. This perspective is effective in conveying a sense of the character’s solitude and distance from the rest of the world. This perspective even gives a sense of a slight distance that the character has from herself. This can be deduced by the fact that it is not told from a first-person perspective, which would provide the same effect when conveying a separation from others, but from the third-person implying an even further separation from the character.  In this way, the point of view supports the theme of loneliness in life after death, whereby the spirit and physical body forever detach.

            There is plenty of supporting symbolism in this story, which begins from the very first paragraph when she crosses the stepping stones of the river, recalling their individual differences.

“There was the round unsteady stone, the pointed one, the flat one in the middle –– the safe stone where you could stand and look around. The next one wasn't so safe for when the river was full the water flowed over it and even when it showed dry it was slippery” (as cited by Clugston, 2010, sec. 7.5, para. 1).

Not one word is wasted in expressing so much background information to the reader, while also hinting at the theme of life after death.  The descriptions of the stones being different, some safe and some unsteady, are symbolic of the different stages in her life: at some points trials and tribulations make the steps more difficult, in other times, there was rest and a relief.  These points are much like the journey from childhood through adulthood, beginning unsteadily and with uncertainty before coming to a flat point where late adulthood and a time of ease is most commonly assumed.  Finally, the description that is given to the treacherous rock with river water flowing over it is symbolic of the final point in life, where by either old age or accident, the body fails and succumbs to death. “But after that it was easy and soon she was standing on the other side” (as cited in Clugston, 2010, sec. 7.5, para. 1). This is the point of spiritual transition to spirituality.  The phrase “the other side” is often used figuratively for the spirit world. This implies that she has passed on.  The stones that she has crossed serves as a symbolic reflection on her life, but also expressed in a literal sense as stones that she recalls from a place she once lived.  This literal description is what the reader takes notice of first as it is not until the end of the story that the protagonist, and therefore reader, are made aware of her death.

            Upon walking further the woman takes notice of many physical changes to the environment.  The road is wider than she recalls and is said to be uncared for, implying the change in time and an overall feeling of being forgotten. Yet despite the condition of the road and the vegetation, she is described as feeling happy.  The sky is blue but has an unknown feeling to it that she could not recollect, which she best describes as being “glassy”. Glass implies fragility and reflection, which perhaps compliments the theme by of loneliness by hinting at the idea of the bittersweet nature of memories. The tone is both nostalgic and ironic in that the romantic sentiment that is attached with the feeling of a familiar place is confused with an acknowledgement of the physical characteristics having been changed. Such irony is seen also at the end of the story.

            The constant movement the protagonist makes as she journeys over the river, down the road, and to the house comes to a stop when she comes upon two children under a tree. “There were two children under the big mango tree, a boy and a little girl, and she waved to them and called "Hello" but they didn't answer her or turn their heads” (as cited in Clugston, 2010, sec 7.5 para. 5). In a short story, every image has an important use to the story.  There is symbolic purpose behind the children and the mention of the mango tree.  Both are a reference to youth and childhood. Fruit is typically representative of youth, new life, or fertility.  In this case, with the presence of the children, is meant as an expression of her childhood. She makes three failed attempts to communicate with the children, which are wrought with symbolism. Her inability to be seen or heard finally confirm that she is deceased and in a spiritual realm, while also remarking on the loneliness of her condition as she tries not once, but three times to get their attention. Additionally, her loneliness is confirmed in her approach to the children: “her arms went out instinctively with the longing to touch them” (as cited in Clugston, 2010, sec 7.5, para. 6). In this line, the tone seems to shift into a burst of sentiment as we can see that she has an incredible urge to connect with others.  Being denied the contact she seeks and the final understanding of her condition is ironic as one would not expect such a pleasant journey through fair memories to arrive at such a solemn awareness. There is an evident sense of pain in her separation from life and a devastation in the awareness (and possible acceptance) of death (Aubrey & Rollins, 2001).  This directly relates the theme of the journey into spirituality and the loneliness that results.

            The theme in any story is focuses on a broad lesson or understanding of life based on ancient or cultural myths.  They speak of what we know, or hope to know, of our existence. In short, the theme tells us what the story is about (Clugston, 2010). In “I Used to Live Here”, the theme is made evident by the use of tone, symbolism, and the point of view the story is narrated in.  These literary elements are key in understanding the value and meaning in the character’s journey.  While we all can relate to feeling nostalgic about places we have made memories in, the elements in this story imply a much more philosophical outlook on the journey she makes. Since life after death is not something anyone can speak intelligently about, literature relies on symbolism to express the feelings that can only be speculated on, and hence, are subjective to each person’s individual perspective. Her transition from life to death, the loneliness that derives from such an exile, and the difficult acceptance of her spirituality are thematic in this short story.

 

Reference

Aubrey, B. & Rollins, D. (2001). Jean Rhys. Critical Survey Of Short Fiction, Second Revised Edition, 1-4. Retrieved from: http://ehis.ebscohost.com.

Clugston, W. R. (2010).  Journey into literature.  San Diego, CA: Bridgepoint Education, Inc.  Retrieved from https://content.ashford.edu/books.

Encyclopedia Britanica. (2013). Allegory. Retrieved from http://www.britannica.com/EBchecked/topic/16078/allegory.

 

An Archetypal Analysis of Kate Chopin’s “The Story of an Hour”

 

An Archetypal Analysis of Kate Chopin’s “The Story of an Hour”

 

There are several methods of critiquing literary works, all of which rely on the way each person interprets and responds to the material. In some cases interpretations vary greatly, such as when one reviews the material from a reader response approach.  Other interpretations, such as the archetypal approach, are more widely related among readers as it is made up of viewpoints that are the foundation for human nature. Often stories that incorporate such images capture the reader’s interest and make the story or poem more personal and meaningful. Having read Kate Chopin’s “The Story of an Hour”, I was intrigued by the depth of the imagery created for the main character as she experiences a journey through the grief process which can be universally understood through an archetypal analysis. 

True emotions can often get buried beneath stereotypical obligations and our own sense of propriety. Society, family, friends, even the expectations of one’s gender can force us into a status quo, replacing what is deep rooted and heartfelt for what is ‘appropriate’. In “The Story of an Hour” by Kate Chopin, the main character Mrs. Mallard, after learning of her husband’s sudden death, is overcome with a whirlwind of emotions that ranges from shock and disbelieve to a hard realization of relief and release from her role as a wife. I was drawn to this story by the use of imagery to depict how this exchange of emotion takes place and breaks Mrs. Mallard from her acceptance of the status quo. “There was something coming to her and she was waiting for it, fearfully […] she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air” (as cited in Clugston, 2010, sec. 2.2). What comes to Mrs. Mallard is her own realization that with her husband’s death comes her freedom to live her life as she pleases. Chopin’s use of personification gives the realization a sense of tangibility. Since thoughts cannot be held they can figuratively slip away, therefore the tangible quality that Chopin describes takes a firmer and more permanent hold over her character. Such a shift in thought and the breakout from the repression that is described of Mrs. Mallard is monumental is expressing the general quest for freedom and happiness that we all seek, and is primary in what captured my interest in this story.

The archetypal approach to analyzing this story draws on what we know about our own humanity in terms of goals, dreams, fears, and common responses to dilemmas. Archetypes in literature determine the structure of the story and the meaning that is implied, based on both ancient and current cultural mythology (Delahoyde, 2011). Myths and the cultures amongst societies provide a general understanding of the meaning and purpose in the elements presented in a story.  For instance, the term “tomorrow is a new day” would be considered trite and obvious if it was not laden with the meaning that we can always start over, or try again when we are met with failure or difficulty.  Analyzing literature by way of the archetypal foundations laid within the work allows the concept to be unanimously understood and therefore makes the literature itself more relatable.

Kate Chopin uses several archetypal images in “The Story of an Hour”. In the third paragraph the narrator describes Mrs. Mallards reaction to her hearing her husband’s death, stating “When the storm of grief had spent itself she went away to her room alone” (as cited in Clugston, 2010, sec. 2.2). The reference to a storm is significant in understand the feelings she had, how they came, and how they seemingly left her empty.  The archaic understanding of a storm in literature dictates emotion, and the wild frenzy that is creates in us. Additionally, storms represent a spiritual cleaning that is necessary after a significant disruption in life (Chopin, 2001). This renewal is seen when Mrs. Mallard leaves to her room where she sits in solitude and silence before accepting a fulfillment of new emotions.  She is left empty and sits with what is explained as a blank stare before being seemingly grabbed by the enlightenment of freedom.

In having come to such a state, the narrator describes Mrs. Mallard thoughts of “spring days, and summer days, and all sorts of days that would be her own” (as cited in Clugston, 2010, sec. 2.2). The image of spring and summer days are symbolic of new life and optimism, as found in ancient mythology. In the character’s case, such new life is symbolic of her release, or rebirth, from repression (Chopin, 2001). This concept is widely understood. It is of particular interests that the fall and winter are not mentioned as being seasons Mrs. Mallard looks forward to, as mythology suggests these seasons as the time of death, solitude, and confinement indoors which would be contradictory to the anticipation of freedom that Mrs. Mallard is expressing.

            Mrs. Mallard alone is an archetype that is symbolic of the martyr.  In the finality of the story, she descends the stairs with a sense of poise, self-confidence, and affirmation in her new found perception of life only to be stuck dead by the sudden shock, and ironically a great grief, of finding her husband alive and well staring back at her.  It is the nature and timing of her death that makes her a martyr as she held true a new sense of self, or spirituality, so strong that the sudden loss of it caused her a heart attack. Her freedom was given and robbed from her, jarring her between a life servitude, to independence, and back again. Her death speaks for feminism and the general view society has of women, particularly in the late 19^th century when this story was written.

            Kate Chopin’s main character and experience through the grief process in “The Story of an Hour” was written with the use of several metaphors, and personification of inanimate objects and thoughts, that filled the story with meaning. The use of archetypal imagery made the moral timeless and universally understood.  Mrs. Mallard may be personally relatable to both men and women; whether in the 19^th century or the 21^st, every person mourns the loss of their “freedom” in some regards. Release is found in the moments, as fleeting as they may be, when weights are removed and we are able to live for ourselves.  Such a philosophy is what captured my attention and what lays the archetypal foundation into this this story.

           

 

References

Chopin, K. (2001). The Story of an Hour. Close Readings: Analyses Of Short Fiction, 86-112. Retrieved from http://web.ebscohost.com.

Clugston, W. R. (2010).  Journey into literature.  San Diego, CA: Bridgepoint Education, Inc.  Retrieved from https://content.ashford.edu/books

Delahoyde, M. (2011). Archetypal Criticism. Retrieved from http://public.wsu.edu/~delahoyd/archetypal.crit.html

 

The Captivity of Orca Whales, A Moral Dilemma (RESEARCH PAPER)

The Captivity of Orca Whales, a Moral Dilemma

Humans are curious beings.  They marvel at the wonder of the Earth and the many species that share it. Wonder is natural and with many other species, is reciprocal. With the development of technology in the past century, such curiosity and wonder has progressed into a utilitarian attitude towards the Earth and her inhabitants. This is evident in the practice of capturing and displaying wild animals for profit. Orca whales in particular have been the frontline of zoological attractions which offer the opportunity to experience “the energy and spirit of the ocean” (SeaWorld San Diego, 2013, para. 1).  Though some people argue that captivity is an acceptable form of conservation, captivity in the case of orca whales is a particularly exploitative and morally repugnant industry which poses health and safety risks to the whales and the people that care for them.

            The orca, formally called the “Orcinus orca” but more commonly known as the “killer whale”, is among the most intelligent species in the whole world. They are highly social animals as evident in the observations of their interactions among their own kind in the wild as well as in captivity. In the wild their group structures, or pods, are based on deep bonds between mothers and their offspring whom stay together throughout their lifespan (Orca Fact File, 2013). Science has suggested that orca whales display what humans refer to as “culture”, or specific ways of communicating, interacting, and hunting. According to the National Parks Conservation Association (2010), “the animals are thought to have complex forms of communication with different dialects (slightly different language) from one pod to another” (para. 8). Recent research has even verified that the orca brain demonstrates the presence of a limbic system – the apparent foundation for emotional life - more advanced than that of the human brain (Oteyza, M. & Cowperthwaite, G., 2013). These findings confirm the presence of a psychological connectivity to their environment and an awareness of life. Such characteristics relate to “personhood”, thus by most societies’ standards, deems them worthy of respect and dignity.

The knowledge of these animals’ biology and psychology poses the question of ethics regarding what responsibility humanity has towards these fellow inhabitants. In determining such morality the theory of virtue ethics may be applied. Virtue ethics by definition states that one would come to a conclusion on a moral dilemma by assessing what is most virtuous, rather than what represent the needs of many or by focusing on the consequences of the action (Mosser, 2010). Therefore, this theory implies the moral dilemma would be solved by considering what would be right in terms of the whales and not personal or commercial interest. Inevitably, there is quite the controversy over what constitutes virtue when proposing the questions that virtue ethics demands to be answered:  As the awareness of the complexities of these animals continue to evolve and humanity comes to believe that they are conscious beings, individuals not unlike humans themselves, by what right does society validate their abduction and imprisonment for the sake of entertainment? At what point does the proverbial line between research and conservation of these animals cross into blatant slavery and degradation of their species? Perspectives may vary, though after casting aside corporate greed and personal intrigues, it is hard to ignore that the captivity of these animals is morally corrupt and an abuse of human power.

Attraction parks like SeaWorld claim they provide a rich learning experience and inspire an appreciation for marine animals while simultaneously providing appropriate medical care for their orcas that would (in their opinion) not otherwise thrive in the wild after a prolonged life in captivity. This argument is quite contradictive; if it is true that captive whales have been institutionalized to a point that they cannot survive in the wild, it is the fault of the attraction itself for not only breeding orcas in captivity, but for training them to be dependent on humans when they are still only calves. While oceanariums offer efforts towards public awareness and conservation, the focus is on the profit received by displaying these animals as a product. Such attractions seek to direct the debate of morality towards the live capture of orcas from the wild which, despite a ban the United States and Canada has placed, is still being practiced internationally. The ban on seizing wild orcas is not enough though to satisfy the moral dilemma at hand. As of 2011 more than forty-one killer whales resided in amusement parks around the world (What to Do About a Killer Whale, 2011). Considering how many may have been born in captivity or taken from the ocean since then one could safely assume this number has increased – a quite unfortunate assumption considering how captivity affects their physical and mental well-being. In the wild orcas swim approximately 100 miles a day, whereas in captivity they are restricted to tanks that to humans would be the equivalent of a bathtub. Consequently, they face a series of health issues such as infections, disease, and a mortality rate twice as high as adult whales in the wild (Horgan, 2013). Several marine biologist have surmised that these conditions combined with the extremely advanced intelligence of orca whales can and have led to their psychosis. These facts are evidence that there is no benefit for orcas, and thus no virtue, in captivity. The virtuous actions marine attractions claim to make towards conservation, education, and awareness can be easily refuted. The argument against captivity is the most logical in terms of virtue ethics.

To act on virtue ethics would be to release these animals into the wild, if possible, or at the very least to a more natural environment where they are free to swim openly, hunt, and reclaim placement in their intricate social structure. While there may always be debate as to whether a full release into the wild would be possible for orcas that have spent most of their life in captivity, many agree that attempting it would be the morally correct action. For instance, the 1993 blockbuster movie “Free Willy”, featuring Keiko –a captive fifteen year old killer whale, inspired millions of children and activists groups to take such action. In a tribute to Keiko and whales like him, movie producers, schools, and several donators rallied together and raised funds for Keiko’s release back into the wild. After years of planning Keiko was slowly reintroduced to his natural habitat. At twenty-five years old, less than two years after his complete independence from humans, Keiko died of natural causes. While some claim the nearly twenty-million dollars spent to release Keiko was a waste, Keiko ultimately proved to the world that life outside of nets and tanks is possible after a life spent in captivity (Kirby, 2013). His story produced a tremendous amount of media attention in favor of his new life. At the time of his death, Keiko was the oldest adult whale captivity had seen.

            Unfortunately, after Keiko’s release society fell relatively quiet to this issue of morality, focusing once again on the wonder of these animals and the extraordinary experience it is to see them up close. Oceanariums around the world market such attractions in a way that appeals to one’s emotions, claiming it to be a once in a lifetime opportunity to see these whales. As advertised by SeaWorld San Diego (2013):

Dancing fountains set the stage as you connect with thrilling sea creatures and realize we are all part of one world, one ocean. Your soul is ignited as our worlds are united… and you realize that we all have the power to make a difference in this planet we share (para.1).

This appeals to the curiosity and wonder of humanity, and in so doing plants the false notion that attending such shows expresses respect for this species. It is a powerful message of rebuttal to virtue ethics, as it calls to the ethical egoist, who act in the favor of their own pleasure.

            Ethical egoism, the decision to do whatever it is that intensifies one’s self interest, is a prominent way in which business and consumerism operates today (Mosser, 2010). Rarely anyone can deny that seeing a massive killer whale leap from the water, flip in the air, and wave its dorsal fin is a thrilling experience. No doubt such a show would be hard to deny, particularly when its marketing helps reason away the negativity behind it. Consumers are led in, entertained, and left with little information as to what the lives of the orcas are really like. For some egoist, naivety is not as much an issue as is the blatant disregard for the facts. Most people cannot deny what is obviously natural for these animals and thereby what is right and wrong, though it is easy to ignore the facts when distracted by appeals made to their sense of entitlement… a condition that seems to plague humanity. Protest groups such as Mate call the practice of keeping orca whales captive “barbaric” and claim it is morally degrading to the entire community (“Protestors”, 2001). Affirmation to this ideal began to spread after the release of the documentary movie “Blackfish”, which first aired in the summer of 2013. Since then there has been a steady rise in awareness and debate regarding orca whales. The movie follows the life of Tilikum, a male orca owned by SeaWorld, while unraveling the truth and highlighting the deceptions that oceanariums hide behind. Regardless of the negative publicity the film caused SeaWorld, they reported no damage to their ticket sales after the film was released.  Despite the public’s awareness of evidence against captivity, egoism will continue to pose a challenge to enforcing what society in general deems virtuous.

            Perhaps the theory of deontology would provide further insight into the issue of morality. Deontology states that people must do as they are obligated to do to show respect to one another (Mosser, 2010).  The basic premise of this theory can be surmised by the popular phrase “do unto others as you would have them to unto you”.  A deontologist would argue that human beings have dignity which must be considered when determining the moral choices made when dealing with them. The Universal Declaration of Human Rights, as determined by the people of the United Nations, asserts that all persons are to be free from slavery and servitude (United Nations, 2013).  Such rights are based on the presence of inherit dignity that the human race possesses, which is parallel to that possessed by orca whales. Since research has established the orca whales demonstrate psychological characteristics similar, if not the same, to that of humans, then it can be deduced that they are to be treated with the same dignity that humans are entitled to. Since the human condition, like that of the orca whale, is universal and knows no borders the relativist would find no bearings on an argument against it. Based on this logic the theory of deontology, as well as the theory of relativism, denies any moral foundation in holding orca whales in captivity.

            Both virtue ethics and deontology present strong arguments against orca whales in captivity, though they both rely on an agreement that orcas have rights based on their similarities to humanity which is a stance that, no matter how far scientific data goes, will never be universally accepted.  For those less concerned with philosophical reasoning is the theory of utilitarianism.  This classical theory bases decision making on what action produces the most happiness for the most people involved (Mosser, 2010).  Many would say the most happiness is placed in viewing the shows that oceanariums like SeaWorld produce, much like the stance that ethical egoism takes.  While it is true that one’s utility- or their state of happiness - may be increased with the close interactions offered by these shows, the safety of the trainers and the audience should be of greater concern.  Orca whales are larger, faster swimmers than humans, and on a predatory level are much more dominant.  Though the last century has proven that people are able to control orcas behavior and ultimate dependency through positive reinforcement (or in some cases, food deprivation), there have been several recorded instances of injuries and deaths from interactions with orca whales.  Whether accidental or intentional, orca whales in captivity have demonstrated their ability to trash and drown trainers and others that come within close contact to them.  For instance, in 2010 SeaWorld trainer Dawn Brancheau was killed by Tilikum, the largest male orca owned by SeaWorld Florida following a show. While there are mixed reports as to what actually transpired, the official report states that Tilikum pulled Brancheau into the water by her pony tail, scalped her, repeatedly rammed and dismembered her before finally drowning her and refusing to release her body (Blackfish, 2013).  Such incidents are rare, but have recently been proven possible and serve society with the sobering reminder that humans are inferior to the physicality of these animals. In terms of utility, the enjoyment one receives from such shows does not outweigh the ultimate safety risks imposed to the audience and staff.  Rather, the greatest good to the public is to avoid close proximity and interactions with these animals that are not only uncontrollable when they attack, but are clearly only volatile in captivity as there have never been any reports of human injuries from orcas in the wild.

            There are many ways to view the issue of morality in the case of keeping orca whales in captivity, all of which provide different views of the argument which society struggles to come to agreement on.  The three classical theories all offer logical insight, from that of virtue ethics which considers what is best for the whales, to the theory of deontology which considers the duty we have as human beings, and finally the theory of utilitarianism which views the issue from the angle of the consequences it faces to those involved. Despite such logic, the selfish instincts of society fuels actions, such as captivity and the direct or indirect sponsoring of it, as produced by ethical egoism, thus denying the moral obligations that humanity has to its respective species.

Conservation is an effort worthy to be condoned when executed in the best interest of the animals involved. Since there has yet to be any indications that orca whales are in danger of extinction, there seems to be little purpose in maintaining oceanariums for such preservation.  Furthermore, human safety in handling these whales have been compromised. For profit corporations that house these animals for entertainment pose safety risks to their employees and the audiences that have been allowed to interact with them. Observations of the whales in captivity, as well as in the wild, have provided scientists with a deeper understanding of the psychological and physical needs of these animals.  They require space to swim large distances and an open sea to hunt.  They are highly intelligent social animals that thrive in their natural biologically formed pods and display emotional connectivity to their environment.  The more that is learned about them the more is required of humanity to make changes in how we live amongst them. Holding them captive and training them to do tricks is blatant slavery and degrading to their dignity. It is an abuse of the power that humanity has claimed and an ultimate estrangement from the virtues, ethics, and morality that mankind strives to uphold.

           

             

           

 

References

Anonymous. (2011). What to Do About A Killer Killer Whale. Maclean's, 124, 4. Retrieved from http://search.proquest.com/docview/861842492?accountid=32521

Hogan, S. (2013). Author Decries Keeping Killer Whales in Captivity. Gloucaster Daily Times.

Kirby, D. (2012). 7 Things About Wild Killer Whales You’ll Never Learn at SeaWorld. Retrieved from: http://www.takepart.com/photos/wild-killer-whales/orcas-in-the-open-ocean.

Kirby, D. (2013). 20 Years After ‘Free Willy’, Was It Right to Free Keiko the Killer Whale. Retrieved from http://www.takepart.com/article/2013/09/24/i-remember-keiko-20-years-after-free-willy-former-trainer-recounts-killer-whales

Mosser, K. (2010). Ethics & Social Responsibility. San Diego, CA: Bridgepoint Education, Inc.

National Parks Conservation Association. (2010). Killer Whale. Retrieved from http://www.npca.org/protecting-our-parks/wildlife_facts/orca.

Orca Fact File. (2013). ARKive. Retrieved from http://www.arkive.org/orca/orcinus-orca/

Oteyza, M. & Cowperthwaite, G. (2013). Blackfish [Documentary]. United States: Magnolia Pictures.

Protesters Call for Bjossa the killer whale to be set free, not moved south. (2001, Apr 21). Canadian Press NewsWire. Retrieved from http://search.proquest.com/docview/359527961?accountid=32521

SeaWorld SanDiego. (2013). One Ocean. SeaWorld Parks and Entertainment. Retrieved from http://seaworldparks.com/en/seaworld-sandiego/Attractions/Shows/One-Ocean?from=Top_Nav

United Nations. (2013). The Universal Declaration of Human Rights. NY: UN Publications. Retrieved from http://www.un.org/en/documents/udhr/#atop