Source identified
“The bustle in a house The morning after death Is solemnest of industries Enacted upon earth.”
Ordinary household activity after a death is portrayed as solemn work, emphasizing the practical tasks that continue while grief has only just begun.
Source note: Poem in Poems: First Series (1890), Project Gutenberg #12242. “The Bustle in a House” is used as an editorial first-line source identifier; the poem continues from physical tasks toward putting love away for eternity.
Source identified
“Let the dead Past bury its dead!”
The poem rejects living backward and immediately redirects attention toward action available in the present.
Source note: A Psalm of Life, in the stanza beginning “Trust no Future.”
Source identified
“For life goes not backward nor tarries with yesterday.”
Life continues forward despite attachment to what has already happened, so care for the past cannot make the present remain there.
Source note: The Prophet, “On Children”; Gibran contrasts parents’ memory of yesterday with children belonging to a life that moves forward.
Source identified
“The gap of time since I had seen him last had made no impression on me”
Jefferies describes memory resisting elapsed time: the remembered person remains vivid even though years have passed and death has created an irreversible break in the present.
Source note: Field and Hedgerow; Project Gutenberg #7030. The sentence occurs in a recollection of John Brown after his death and is kept in that personal-memory context rather than generalized into abstract grief advice.
Source identified
“Blessings emblazoned that day Everything glowed with a gleam; Yet we were looking away!”
Looking backward reveals value that was not fully noticed while the moment was being lived, giving the remembered family scene both warmth and regret.
Source note: “The Self-Unseeing,” Project Gutenberg #3168. The exclamation closes a poem of retrospective domestic memory and should not be detached from that remembered household scene.
Source identified
“My life closed twice before its close; It yet remains to see If Immortality unveil A third event to me.”
The speaker treats profound separations as deaths within a still-living life, leaving the final meaning of another separation to the poem's religious-metaphysical horizon.
Source note: “Parting,” Poems: Third Series (1896), Project Gutenberg #12242. The poem is lyric and metaphysical; its language of immortality is not presented as empirical evidence about an afterlife.