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Later, in the dawn of the tenth century, the prominence
of the theme of the four seasons rises up to the level of that of love making both topics even more dependent upon each other. Love becomes of intense importance on the formation of the seasonal poetry in Kokinshū. Later on, during the seventeenth century, we witness shrinkage in the impact of the theme of love in comparison to that of the four seasons in Haikai; until it completely disappears in Hokku. Finally, in modern thirty-one syllable Tanka, the theme of love comes back to becoming the major independent theme which is not associated with seasons.
Since death is unknowable, Dickson goes around it, painting its many facets using descriptive language, making readers come close to knowing it from her viewpoint. Dickson highlights a variety of experience of death, examining the sensations of dying the response of other people in the process of dying, the struggle of the people dying including his body and the adjustment people make after one dies. She further reviews the final journey of someone who dies. Many view Dickson’s poetry to have a strange fascination with death. She even imagined herself dead and mourners walking past her dead body. However, both poets present their personal perspective about death.