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    blog:taking them away
    [ALIGN=left]taking them away[/ALIGN][ALIGN=left][/ALIGN][ALIGN=left]The first key to the weirdly logical nature of the imagery comes in these astonishing lines: death is inside the bones,like a barking where there are no dogs,coming out from bells somewhere, from graves somewhere,growing in the damp [URL=http://www.discountmbt.com/]MBT[/URL]air like tears or rain.[/ALIGN][ALIGN=left]Neruda presents the sound the animals make, the barking, but removes the origin of that sound, the dogs themselves. The sound seems all the more haunting since it comes from absent dogs in an indistinguishable place—a churchyard perhaps—and seeps, as if naturally, into the "air like tears," products of human grief, [URL=http://www.discountmbt.com/]MBT Shoes[/URL] "or rain," a mere atmospheric condition. So, too, he paradoxically asserts diat death has a sound, which is silence. The imagery goes into full operation in the fourth stanza:[/ALIGN][ALIGN=left]Death arrives among all that sound like a shoe with no foot in it, like a suit with no man in it, comes and knocks, using a ring with no stone in it, with no finger in it, [URL=http://www.mbt-lami.com/]MBT[/URL] comes and shouts with no mouth, with no tongue, with no throat. In this sequence of images, Neruda repeatedly presents a human object but wididraws die human presence from it. He posits a shoe, but takes away die foot that wears it; he presents a suit, but withdraws the man who would inhabit it. Death comes and knocks, but it uses [URL=http://www.mbt-lami.com/]MBT Shoes[/URL] a ring without a stone or a finger. The progression—death shouts "with no mouth, with no tongue, with no throat"—mimics a process of taking a voice away in stages. These images all incarnate the paradox of a presence that is absence. "Nevertheless," he writes, using a logical proposition as in a poem by Donne or Marvell, "its steps can be heard / and its clothing makes a hushed sound, like a tree." Neruda has created an imagery for something which cannot be seen—something mysterious, indistinct, real.[/ALIGN][ALIGN=left]Neruda is also thinking in similes here—that is, by comparing [URL=http://www.mbt-lami.com/vibram-five-fingers-c-13.html?zenid=ea9711d15b496cd92fa8cb21e4b3c1e9]vibram fivefingers[/URL] one thing with another: Death arrives amidst the loud racket like a shoe without a foot in it, like a suit without a man in it. All good similes depend upon a certain essential heterogeneity between the elements that are being compared. (Quintilian: "The more remote the simile is from the subject to which it is applied, the greater will be the impression of novelty and the unexpected which it produces.") The simile asserts a likeness between unlike things, it maintains their comparability, but it also draws attention to their differences, thereby affirming [URL=http://www.mbt-lami.com/vibram-five-fingers-c-13.html?zenid=ea9711d15b496cd92fa8cb21e4b3c1e9]vibram five fingers[/URL] a state of division. It is left to the reader to decide how death exists inside die bones of corpses "like a barking where there are no dogs." This participatory dimension works brilliantly for the poet who is creating within us a sense of death's active and omnivorous power, its alien and alienating majesty. There is also a digressive impulse to similes that keeps extending the poem outward to take on new things, and Neruda builds on this tendency in order to suggest the power of death actively going through the world and sweeping tilings up, taking them away.[/ALIGN][URL=http://www.sshd8.com/userspace.asp?sid=1350&act=post][/URL]
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