“Life is a hot day, perhaps death is a cool night. Life is a shallow bay, perhaps death is a clear, deep sea.”

Song I, st. 1.
Water Babies http://www.gutenberg.org/dirs/etext97/wtrbs10h.htm (1863)

Source: Calculated Risk (1950), p. 1
Context: A soldier's life in combat is an endless series of decisions that mean success or failure, and perhaps life or death for himself or his comrades. The rifleman crawling through the rubble of a bombed-out street must decide on the best moment to escape enemy fire as he dodges from one doorway to the next. He must take a chance. The general seeking to break an enemy defense line and destroy his forces must decide just when and how to strike and precisely to what extent he dare weaken one sector of his front in order to mass overpowering strength at the main point of attack. He, too, must take a chance, although, in the stilted phraseology of military communiqués, he calls it a "calculated risk".

Novalis (1829)

"The Figure of the Youth as Virile Poet"
The Necessary Angel (1951)
Context: It may be dismissed, on the one hand, as a commonplace aesthetic satisfaction: and, on the other hand, if we say that the idea of God is merely a poetic idea, even if the supreme poetic idea, and that our notions of heaven and hell are merely poetry not so called, even if poetry that involves us vitally, the feeling of deliverance, of a release, of a perfection touched, of a vocation so that all men may know the truth and that the truth may set them free — if we say these things and if we are able to see the poet who achieved God and placed Him in His seat in heaven in all His glory, the poet himself, still in the ecstasy of the poem that completely accomplished its purpose, would have seemed, whether young or old, whether in rags or ceremonial robe, a man who needed what he had created, uttering the hymns of joy that followed his creation. This may be a gross exaggeration of a very simple matter. But perhaps the same is true of many of the more prodigious things of life and death.

St. 4
Tears, Idle Tears (1850)

On death and the nightly resurrection of the slain on Valhal, Ch. 2
Space Chantey (1968)
Context: Death is for a long time. Those of shallow thought say that it is forever. There is, at least, a long night of it. There is the forgetfulness and the loss of identity. The spirit, even as the body, is unstrung and burst and scattered. One goes down to death, and it leaves a mark on one forever.

Gooseberries (1898)

Second chorus, lines 1-12.
Atalanta in Calydon (1865)
Context: Before the beginning of years
There came to the making of man
Time with a gift of tears,
Grief with a glass that ran,
Pleasure with pain for leaven,
Summer with flowers that fell,
Remembrance fallen from heaven,
And Madness risen from hell,
Strength without hands to smite,
Love that endures for a breath;
Night, the shadow of light,
And Life, the shadow of death.

"Arachne" (1928), line 1; cited from John Haffenden (ed.) The Complete Poems (London: Allen Lane, 2000) p. 34.
The Complete Poems