KANEEZ FATIMA

STYLISTICS ANALYSIS
ASSIGNMENT NO 2

SUBMITTED TO: MA’AM AYESHA HANIF

12-15-2024
 STYLISTICS ANALYSIS: ASSIGNMENT NO 2

STYLISTIC ANALYSIS
“DO NOT GO GENTLE INTO THAT GOOD NIGHT BY DYLAN THOMAS”

Do not go gentle into that good night,

Old age should burn and rave at close of day;
Rage, rage against the dying of the light.

Though wise men at their end know dark is right,

Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright

Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,

And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight

Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.

And you, my father, there on the sad height,

Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.

SUMMARY OF THE POEM:

The poem ‘Do Not Go Gentle Into That Good Night’ a villanelle which is the exploration of the
inevitability of death. It's also a call to resist death. The speaker opens by talking about different
types of men who, in their own way, attempt to escape or deny their mortality. Wise men, despite
knowing death is inevitable, seek to thwart death because they haven’t done anything revolutionary
yet.

Good men, who realize their life is like a wave passing by, want more time to live. Wild men refuse
to accept their mortality because they want to continue living in the moment. Old men have the
knowledge and wisdom to realize the preciousness of life and therefore want to hold onto it.

The poem then shifts to focus on the speaker’s father, who is presumably dying. Instead of
accepting it gracefully, the speaker uses direct address to urge their father to resist it — to “rage,
rage against the dying of the light” (line 19).
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• PHONOLOGICAL LEVEL OF ANALYSIS:

Phonological analysis is the level of sound analysis in which we study the characteristics and
functions of sound in a literary piece of work. This level of analysis examines the ways in which
an author uses sound devices to create effects in their writing. It is the sound system of any given
language. It deals with rhyme, meter, and alliteration etc.

1. Alliteration

Thomas uses alliteration, the repetition of consonant sounds at the beginning of words, to create
rhythm and emphasis. For example, in the line "Grave men, near death, who see with blinding
sight," the repetition of the “g” sound in "Grave" and "near" draws attention to the seriousness of
these men’s situation. The repeated sounds help to create a sense of urgency and finality,
enhancing the overall defiance against death.

2. Assonance

There is notable use of assonance in the poem, such as in the line, "Good men, the last wave by,
crying how bright." The repetition of the long “i” sound in "crying," "how," and "bright" helps to
create a flowing, almost melodic quality in the line, reinforcing the emotional plea to resist death.
This sound repetition also evokes a sense of lament and longing, aligning with the theme of
regret and unfinished deeds.

3. Consonance

Consonance, or the repetition of consonant sounds, is evident in lines like "Do not go gentle into
that good night," where the "t" sound in "gentle," "night," and "into" is repeated. This gives a
sharp, clipped rhythm to the line, emphasizing the urgency of the plea. The sharp consonants
work in contrast with the smoother vowel sounds, which helps to reinforce the poem’s central
message to fight against death rather than succumb to it quietly.

4. Rhyme

The poem follows a strict rhyme scheme of ABA in its tercets and AAB in the final stanza,
contributing to its musicality. The rhyme ties the lines together, creating a sense of continuity
and inevitability, mirroring the persistence of death and the speaker's resistance to it. The
repetitive nature of the rhyme scheme enhances the emotional intensity, particularly in the
refrains: "Do not go gentle into that good night" and "Rage, rage against the dying of the light."
The repeated rhyme adds to the poem’s almost hypnotic effect, driving home the urgency of the
message.
 STYLISTICS ANALYSIS: ASSIGNMENT NO 2

5. Onomatopoeia

Though there are no overt onomatopoeic words like "buzz" or "clang," the poem’s rhythm and
sound can still evoke sensory responses. For instance, the phrase "Rage, rage against the dying of
the light" creates a sound that almost mimics the action of fighting or struggling. The hard "r"
and "g" sounds convey power and resistance, while the "dying" and "light" create a softer, almost
fading quality, which contrasts the earlier harsh sounds and highlights the conflict between life
and death.

6. Rhythm and Meter

The poem’s meter, primarily written in iambic pentameter, contributes to its formal, measured
tone. Iambic pentameter, with its alternating unstressed and stressed syllables, creates a rhythmic
flow that mirrors the steady passage of time. The regular meter reflects the inevitability of death
but is also disrupted by the forceful repetition in the refrains. This disruption mirrors the tension
between life and death, where the speaker’s defiant call breaks through the natural rhythm of
life’s end.

7. Enjambment

Thomas frequently uses enjambment, where sentences spill over from one line to the next
without a pause:

• "Though wise men at their end know dark is right, / Because their words had forked no
lightning they / Do not go gentle into that good night."

Enjambment creates a flowing, uninterrupted rhythm, mirroring the persistence and urgency of
the speaker’s plea. It also serves to build momentum, increasing the emotional intensity as the
poem progresses.

8. Personification

The poem uses personification to give human qualities to abstract concepts:

• Death is personified as a "good night," a term that suggests it is something peaceful or

even desirable, which contrasts with the speaker’s call to resist it.
• "The dying of the light" is personified, turning the light (life) into something that actively
"dies," suggesting that death is not merely an event but an active force.

9. Metaphor

Thomas employs several metaphors to convey the poem’s central themes:

• "That good night" is a metaphor for death, framing it as something inevitable yet
something to be resisted.
 STYLISTICS ANALYSIS: ASSIGNMENT NO 2

• "The dying of the light" is another metaphor, where "light" symbolizes life and vitality,
and its "dying" represents the process of death. This metaphor highlights the struggle
between life and death.

Overall Phonological Impact

The phonological features in "Do Not Go Gentle into That Good Night" work together to
enhance the poem’s emotional intensity and thematic concerns. The alliteration, assonance,
consonance, and rhyme all contribute to the poem’s urgency and emotional appeal, emphasizing
the speaker’s desperate plea to his father to fight against death. The rhythm and meter mirror the
struggle against the inevitable, while the repeated refrains create a sense of persistence and
determination. Through these sound devices, Thomas makes the poem not just a call to action
but also a sensory experience, intensifying the emotional weight of his message

• GRAPHOLOGICAL LEVEL OF ANALYSIS

Graphological level of stylistic analysis refers to the study of visual aspects of written language. It
focuses on how the physical appearance of the text, such as layout, capitalization, spellings and
typography contributes to the meaning of text.

1. Layout

The layout of "Do Not Go Gentle into That Good Night" follows a formal structure, consistent
with the conventions of a villanelle. It consists of 19 lines divided into 5 tercets (three-line
stanzas) and a final quatrain (four-line stanza). The consistent, regular layout reinforces the
poem’s formal tone, creating an orderly, structured appearance that contrasts with the poem’s
urgent plea for defiance against death. The repeated refrains ("Do not go gentle into that good
night" and "Rage, rage against the dying of the light") appear at set intervals, which makes them
stand out both visually and thematically, marking the poem's central message.

The spacing between the lines is standard for a formal poem, with clear separation between
stanzas and no extra space for emphasis. However, the symmetry of the layout is subtly disrupted
by the recurring refrains, which provide a sense of rhythm and anticipation for the reader.

2. Punctuation

In terms of punctuation, Thomas uses a relatively conventional approach, but it is crucial in

controlling the pacing and meaning of the poem:

• Periods are used at the end of most lines, providing a full stop and creating a pause after
each thought. This adds a sense of finality and structure, reinforcing the seriousness of
the poem’s subject matter—death.
• Commas are used to create a slight pause or separation between phrases, especially in the
middle of lines. For example, in the line "Good men, the last wave by, crying how
bright," the commas add pauses that allow the reader to process the emotional weight of
the words.
 STYLISTICS ANALYSIS: ASSIGNMENT NO 2

• No punctuation at the end of some lines, particularly in the middle of the stanza, allows
the thought to spill over to the next line, mimicking the continuous, unstoppable flow of
life moving toward death. This is an example of enjambment, which contributes to the
poem’s urgency and forward momentum.

Overall, punctuation plays a key role in slowing down the reading to enhance the emotional
intensity, while also supporting the enjambment that propels the argument forward without
pause.

3. Capitalization

The capitalization in "Do Not Go Gentle into That Good Night" follows conventional rules for
proper nouns and the beginning of sentences, but the most significant aspect of capitalization is
in the repeated refrains:

• "Do Not Go Gentle Into That Good Night"

• "Rage, Rage Against the Dying of the Light"

The capitalization of "Not," "Good," and "Light" in the refrain emphasizes their importance,
making them visually stand out. These capitalized words signal that they are central to the theme
and message of the poem. The visual prominence of these words reinforces their significance in
the speaker's plea to fight against death.

By capitalizing certain words in the refrains, Thomas gives them a commanding, almost
imperative force, making the plea for resistance feel more urgent and demanding. The capitalized
words stand out visually in the poem, allowing the reader to see them as central to the message.

4. Typography

In terms of typography, the poem follows a standard printed format that reflects its traditional,
formal nature. The font size is typically consistent, and the line breaks are regular, reflecting the
poem’s strict structure as a villanelle. The font is likely to be straightforward, perhaps Times
New Roman or another clear serif font, ensuring readability while maintaining the poem's formal
appearance.

The typography doesn’t stray from the conventional; there are no unusual indentations or
spacing that would visually disrupt the structure. This use of standard typography reinforces the
sense of discipline and control within the poem, aligning with the controlled structure of the
villanelle form. However, the recurring refrain lines, being visually highlighted through
capitalization, attract the reader’s attention, emphasizing the key thematic message.

While the poem's typography does not employ experimental or unique features, it’s simple and
uniform presentation supports the formal tone, enhancing the focus on the content rather than the
presentation.

Conclusion:
 STYLISTICS ANALYSIS: ASSIGNMENT NO 2

The graphological features in "Do Not Go Gentle into That Good Night" work together to
reinforce its themes of defiance, urgency, and the inevitability of death. The layout follows a rigid
villanelle form, with punctuation controlling the pacing and enhancing the emotional intensity.
Capitalization emphasizes key thematic words in the refrains, adding weight to the plea. Finally,
the typography remains traditional, offering a formal, structured presentation that mirrors the
serious tone and controlled structure of the poem.

• SEMANTICO-SYNTACTIC LEVEL OF ANALYSIS

This level basically involves deviation in the poem. It involves minor sentences, run-on-lines and
ungrammaticality.

1. Minor Sentences

A minor sentence is a sentence that lacks a subject or verb but still communicates a complete
thought, often in the form of an imperative or a fragment. In this poem, minor sentences appear
mostly in the refrains, as they tend to be short and direct.

For example:

• "Rage, rage against the dying of the light." This is a command or an imperative
sentence, with the verb "rage" implied to be the subject. It's a minor sentence because it
doesn't follow the traditional subject-verb-object structure of a full sentence but still
conveys a complete thought. The line is forceful and direct, aligning with the poem's
theme of resistance.

Another example:

• "Do not go gentle into that good night." This is also a command or imperative
sentence. Like the previous line, it’s direct and lacks a subject other than the implied
“you” (the person being addressed), making it a minor sentence.

2. Run-on Lines / Enjambment

Run-on lines (or enjambment) occur when a sentence or clause flows from one line into the
next without a pause or punctuation at the end of the line. Dylan Thomas uses enjambment
throughout the poem, which contributes to the urgency and momentum of the speaker’s plea.

Examples of enjambment in the poem include:

• "Though wise men at their end know dark is right, / Because their words had
forked no lightning they" Here, the sentence spills over into the next line without a
break, keeping the flow of the thought intact and building toward the next line. This use
of enjambment allows the poem to move quickly, emphasizing the ongoing struggle
against death.
 STYLISTICS ANALYSIS: ASSIGNMENT NO 2

• "Good men, the last wave by, crying how bright / Their frail deeds might have
danced in a green bay" In this case, the sentence begins in one line and continues into
the next. The enjambment creates a smooth, continuous flow, contributing to the
rhythmic, urgent nature of the speaker’s message.
• "Grave men, near death, who see with blinding sight / Blind eyes could blaze like
meteors and be gay" Again, the thought extends over two lines without a pause, which
gives a sense of urgency and momentum, as the sentence progresses without interruption.

3. Ungrammaticality: when there are any grammatical mistakes.

1. "Because their words had forked no lightning they"

In this line, the phrase "forked no lightning they" is grammatically incomplete. The
subject "they" seems to be floating at the end of the clause without an explicit connection
to the previous part of the sentence. The more standard phrasing would be something like
"because their words had forked no lightning, they did not go gentle into that good
night." This unconventional structure creates a certain disruption in the flow, which could
be seen as a deliberate poetic license.

The ungrammaticality here adds to the sense of incompleteness, regret, and frustration
felt by the "wise men" who realize too late that their lives have not had the impact they
hoped for.

2. "Grave men, near death, who see with blinding sight / Blind eyes could blaze like
meteors and be gay"
The phrase "Blind eyes could blaze like meteors and be gay" is grammatically odd.
Normally, "could blaze" would require a subject or context for the action to make sense.
The absence of a clear subject, combined with the sudden shift in the phrasing of the line,
creates an almost surreal sense of possibilities or things left unsaid. "Gay" here is used in
its older meaning of "joyful" or "cheerful," but even so, the phrasing feels
unconventional, adding to the emotional intensity and abstract quality of the thought.
3. "And grave men, near death, who see with blinding sight / Blind eyes could blaze
like meteors and be gay"
The verb phrase "could blaze" seems somewhat awkward because it would more
naturally read as "their blind eyes could blaze," implying the subject. But the line uses the
term "Blind eyes" as a subject in a more poetic, disjointed way, which bends
grammatical norms for stylistic effect.

Purpose of the Ungrammaticality:

In a poem like this, where the content deals with deep emotion and existential struggle, such
ungrammatical elements help:

• Create an emotional tone: The sense of something being “off” or incomplete mirrors the
feelings of frustration, loss, and defiance.
 STYLISTICS ANALYSIS: ASSIGNMENT NO 2

• Heighten the urgency: The lack of grammatical clarity can mirror the inner turmoil of
the speaker, as they are grappling with profound themes and emotions that don’t always
fit into conventional sentence structures.
• Serve the poetic form: Thomas uses poetic license to fit the rhythmic and structural
demands of the villanelle, especially in the repeated refrains and the need to maintain the
poem’s specific syllabic pattern.

Conclusion:
In "Do Not Go Gentle into That Good Night," Dylan Thomas uses minor sentences, run-on
lines, and ungrammaticality to enhance the poem's urgency and emotional depth. The minor
sentences (imperatives) create a direct, forceful tone, urging resistance against death. Run-on
lines (enjambment) build momentum, reflecting the ongoing struggle. The ungrammaticality,
such as incomplete phrases, mirrors the inner turmoil and frustration of the speaker. Together,
these techniques heighten the emotional intensity, emphasizing the poem's plea to defy death.