Charlotte Smith's last poem "The Ode to Death", published in 1797 in her collection of elegiac sonnets, draws on the idea of ​​accepting death as a “friend” (l.1) rather than fearing it. The ode conveys a deep sense of despair and sorrow, as it alludes to the grief Smith endured during his own life; mainly referring to the death of his daughter, Anna Augusta de Foville. This marks Smith's ability to manipulate his grief as a poetic construction, as the speaker acts as a stand-in for his own identity. By dwelling on the “torturous pain” (l. 7) of life, the poet succeeds in presenting mortality as somewhat desirable – personifying it as “the cure for misery” (l. 21). This allows the reader to reflect on its ability to bring relief to those who are suffering. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay The speaker's willingness to embrace death is evident in the first line of the poem, as is the emphasis on the word “friend” (l. 1) draws attention to himself. Despite the general use of iambic pentameter in the ode, the emphasis here is on the first syllable of the line, meaning that the image of death as companion is more important. The abrupt nature of the exclamation “Friend of the miserable!” (l.1) is also significant, as it alludes to the despair of the speaker, who seems to be looking forward to death. The caesura from lines 1 to 3 of the first stanza adds to this sense of urgency, as it produces a jerky rhythm. This weight of demand is demonstrated throughout the poem, as Smith's use of ecphonesis reinforces the speaker's agitation and inability to restrain his sudden outbursts of emotion: “Ah! (l. 3), “O Death! (l. 19), “Oh!” (l. 21). Similarly, Smith incorporates a series of rhetorical questions in order to create a fast-paced verse - this is particularly visible in the third stanza, where the simultaneous use of three questions reveals the speaker's impatience: Let these impulses wear the exhausted forces from above? Or are they fleeing the averted gaze of a once affectionate friend? Or who doesn't go to your asylum to lose the devastating pain of unrequited love? (ll. 11-15) A feeling of perplexity is created, as the constant questions reflect the turbulence of the narrator's distressed mind. The use of anaphora in lines 13 and 14 also intensifies the mood of unease, meaning that the speaker's agitation becomes more apparent, again producing a sense of rush. While to some extent the speaker's behavior seems slightly chaotic, Smith conveys a sense of rush at the same time. a measured logic behind their thoughts, as continued focus on the miseries of life makes it easier to justify death. The poem therefore suggests that it is wiser to die rather than force oneself to endure constant trials: [...] -Ah! Why does he fear to die? He, who has forced every poignant pain to know, Drains the cup of misfortune to its dregs? (ll. 3-5) The rhetorical question allows Smith to rationalize death, as the speaker presents it as an escape from "every poignant sorrow." The regularity of the quintain rhyme scheme throughout the poem also maintains a sense of uniformity. In this respect, the poem takes the form of a typically Horatian ode; the tone remains balanced and composed as the speaker evaluates the arguments for accepting death. The rhyming couplets at the end of each stanza also build on this sense of stability, as the form remains consistentand neat. The overall effect is comparable to that of Petrarch's sonnet; where the internal couplets create the effect of rounded thought and reflection. The justification of death as an ally is further demonstrated through Smith's hyperbolized description of life's afflictions: Fear ye, O death! Sick and reluctant mind? (ll. 19-20) The jarring effect produced by the dissonance in line 20 reflects the speaker's disgusted attitude toward life, as the repetition of the hard "c" creates a feeling of shock and violence. The hissing by the repetition of “minus” adds to the aggressive tone due to the sharpness of the sound; alluding to the speaker's frustration. Smith's use of imagery also draws on the idea of ​​death as a form of relief, as the narrator's metaphorical image of life as "chains" implies that death grants release from a miserable and restricted existence. However, the tone of these lines differs from that of the beginning of the stanza, where Smith refers to the death of his daughter Anna, who died in childbirth in 1795. The use of the apostrophe causes the voice to become much softer, contrasting with the generally bitter and harsh tone of the poem: The wounded wretch who must deplore what she loved most, can she be entrusted to your cold arms, Who no longer hears the voice that no longer soothed her soul , (ll. 16-18) The gentle whistling throughout these lines creates a more sober mood, leading to a slight lull in the verse. This means that a more melancholic feeling is produced, as Smith uses the speaker's voice to reflect on her own family unhappiness; In addition to the loss of Anna, she had also witnessed the deaths of three of her twelve children during her childhood. The sonnet therefore questions the pre-eminence of motherhood and, according to Jacqueline Labbe, allows Smith to explore the "ramifications of maternal grief". Smith continues to present death as desirable by contrasting the distress of life with the supposedly peaceful act of dying: Would cowardice delay thy calm embrace, to linger for long years in torturing pain? (ll. 6-7) The use of the word “Cowardice” has a rather powerful effect here, because the stress of the meter falls on the first syllable; producing an explosive sound. This creates a harsh, almost accusatory tone; the speaker seems frustrated by the weakness of those who openly refuse to accept death. The sharpness of this word juxtaposed with the gentleness of the phrase “calm embrace” highlights the welcoming nature of death; like the repetition of “m” and “c” builds a soothing sound; conveying an image of death itself in its arms. It is also worth noting that Smith exaggerates life's sorrows by using alliteration in line 7, as the repetition of the "l" in "linger" and "long" makes the vowels stand out to create a slower rhythm, making allusion to prolonged pain. of life. The idea of ​​incessant misery is reinforced by the internal rhyme of the sonnet – for example in “linger” and “years”, and “long” and “torture” (l.7). Here, the repetition of the vowels “i” and “o” lengthens the length of the line, causing the reader to slow down, thus reflecting this idea of ​​perpetual suffering. This is noticeable throughout the poem; "the lowest [...] misfortune" (l. 5), "which also" (l. 9), "help [...] vain" (l. 10), "once loved" (l. 13), 'wasting pain' (l. 15), 'wounded [...] who' (l. 14), 'your [...] consigned' (l. 17), 'life [...] spirit' (l. 20), "the angel [...] saves" (l. 22). The assonance created as a result contributes to the poem's overall sound of despair, as the repeated emphasis on vowels produces whiny, eerie undertones and continues to build upon the idea of ​​endless sorrow. Smith's manipulation of the meter is also significant in.