I have a rendezvous with death analysis

Introduction
Alan Seeger utilizes style, reiteration, representation and even rhyme format in his poem "I Have
a Rendezvous with Death," in order to associate with his reader that, however certain and
capricious, death is not something to be dreaded, yet to placidly be acknowledged as well as
maybe expected. The rhyme format all through the three stanzas of the poem is to a degree
consistent and customary. This makes the flow of reading easily crediting to a serene tone to the
whole part. This mirrors that the writer is not especially frightened by his topic, for this death
scenario, and proposes that his pursuer require not be either.
Development:
This poem indicates that" death is embodied as the theme of this poem. He has said in line 9 as
"taking my hand." The entire thought of a, rendezvous " is based on the storyteller meeting this
dignitary of death as though he was going to meet some other individual. Spring likewise is
provided a level of human qualities. In nature, it is something held up for and anticipated.
Mockingly, the storyteller states, When Spring comes back with rustling shade I have a
rendezvous with death (lines 5-7)." This is mocking in light of the summed up natures of death
and spring making quick differentiations between the sudden, unexpected end of an existence, or
"debatable blockade," and a time of green, new life growing. That death would be known to
come amidst such a vivacious time as spring brings up the issue that maybe the end of life is not
exactly as premonition to the creator as may be normal. By and by a portrayal of spring's
magnificence is identified with this meeting with death: I have a rendezvous with Death; When
Spring brings back blue days and fair (lines 7-8).

Lingual authority is emphatically utilized here as a part of request to control the meanings of the
peruser and to mix repudiating implications. This makes just about a confusing exacting tone
inside the cooling sound-related sound of the rhyme plan: once more showing smooth peace
nearby of a for the most part obnoxious circumstance. A sample would be the reoccurring line, "I
have a meeting with Death." The expression, "meeting" is to a greater degree an amicable term
where a man would mastermind to meet somebody out of unrestrained choice; maybe even in
reference to two significant others meeting. Conversely, death is the colossal obscure for all of
humanity to trepidation. Basically, the storyteller of the ballad has enthusiastically masterminded
to meet with the premonition thing that is known to be passing. Why would he make such move
unless he had motivation to trust it was not as dreadful a move to make as such a large number of
accept? The redundancy of this line states and restates these inquiries and keeps the thought crisp
in his crowd's brain. Once more, Seeger additionally keeps on relating this line with, "spring,"
making considerably more differentiations and incongruity, as portrayed in the above.
In his last stanza, Seeger aggregates up his point by depicting an, "ecstatic slumber," God knows
twere better Where love throbs out. Pulse nigh to pulse, and breath to breath where hushed
awakenings are dear (lines 17-19)." Diction in these lines in words such a heartbeat, breath, and
enlightenments give the peruser a dream of a life following death maybe in the scriptural
paradise of God. A while later, then again, the tone of the by and by line, "I have a meeting with
death," is gone before with the coordinative conjunction, "however," demonstrating some level
of regret or uncertainty. An alternate perspective of life following death is then depicted when
Seeger states that his "meeting" will happen, "At midnight in some flaming town (lines 20-21)."
The last lines taking after turn the tone from the previous any desire for a foreseen meeting to a
feeling of commitment and obligation to perform the certain: When Spring trips north again this

year, and I to my pledged word an true, I shall not fail this rendezvous (lines 22-24). Unlike in
the first place of the lyric, when the time of the meeting was "debated (line 2)," the storyteller
names a particular definite time at which he hopes to meet passing: at "midnight in some flaming
town (line 21)." This suggests that however "God 'twere better" to meet in the spot of "euphoric
slumber" or paradise, he has settled on his decision as per his activities and means to keep his,
"swore word" and complete his "meeting."
Conclusion:
The picture of trust given to the storyteller is given in the last stanza's portrayal of paradise
parallels with the blissful re-conception and arousals of spring. The "flaring town" of hellfire
proceeds with the godlike undertone and significance of death as something to apprehension. In
this ballad, nonetheless, Alan Seeger presents the two in such a path as to urge his gathering of
people to acknowledge the life and delights offered in the hereafter "God knew 'twere better"
thus then not be committed to an unwelcomed me.