For psychologists and sociologists death is considered to be a most difficult subject to broach with another person, particularly on a personal basis. The reality of death, aside from the basic question of the individual confronting it, can also provoke several questions both political and philosophical in nature. The issue of euthanasia, which is the practice of “encouraging” death (that is letting someone die), stirs passions among any who discuss it. From the point of view of both science and philosophy, death is not so concrete a thing as many think, its precise conditions not being universally agreed upon.
Artists and writers have ever sought to confront and describe death, especially what it means for a given person. In Dylan Thomas’ poem “Do not go gentle into that good night,” the death theme serves to convey a sense of finality and mortality to all men. All things come to an end. The only choice men have is how they choose to confront it. Thomas addresses the way in which different men confront, conceptualize, and/or accept death only to end by railing against it himself. He writes of “wise…good…wild…[and] grave” (Thomas 1971) men who each in their own way meet death. For example, “Wise men know dark is right.” They accept death (“dark”) as being part of the natural order of things. Yet they think that, due to their wisdom, they ought to be recognized or perhaps even famous. “Because their words had forked no lightning they / Do not go gentle into that good night” (1971). “Wild men who caught and sang the sun…too late…grieved [it]. Thomas maintains a constant light/dark imagery to draw a distinction between the life and last moments of each type of man and death. This dichotomy of life (“light…bright…sun”) and death (“dying of the light…green [i.e. dark] bay…dark…blinding sight”) together serve to highlight the transition that all men