Quite possibly to die means to realize some kind of consummation or identity, including the sexual — to achieve the self by a discharge of energy more real than the act of totally serving another. Dickinson was known as a recluse and spent… 1251 Words 6 Pages The poetry of Emily Dickinson is one of the most recognizable of the 19th century. The poem is very cleverly built. O'Connor picks her favorite Dickinson poems. Copyright © 1990 by Paula Bennet. Ambivalence is epitomized by the mourners, who could be understood to lament the burial of the thought, although, ultimately, in sitting for the ceremony, they also come to consent to it.
She was particularly stirred by the Reverend Charles Wadsworth, whom she first met on a trip to Philadelphia. The poem exists only in a transcript, and so it cannot be assigned even approximately to a period of Dickinson's life, but it very possibly is a product of her earlier mature years, her early thirties. In the third stanza, the speaker imagines death scenes in which she would prefer to comfort her dying lover rather than to die with him. But the third and fourth lines show us that these women are detached from the real world around them and perhaps they even revel in this detachment. Was she qualifying hope in some private way? The figurative path to the complete loss of reason, and its attendant spatial dissolution, is difficult to follow.
The last three lines imply the instruments, social ostracism or even the asylum or prison, which the majority uses to hold people in line. Thus the funeral imagery, replete with mourners, coffin, and service, seems both to distract from the poem's subject of repression and to insist on the severity of its consequences. Dickinson was known as a recluse and spent… 1251 Words 6 Pages The poetry of Emily Dickinson is one of the most recognizable of the 19th century. Men do not call the surgeon to commend the bone, but to set it, Sir. The woman perhaps has not found the riches of fulfillment that she had expected. Or it may be that she is a different but equally shallow human type. Thus the allegory of the funeral attempts to exteriorize and give a temporal structure to what is in fact interior and simultaneous.
The transformation seems unexpected, but the snake bears a sign the old string that he is the creature that she once tried to control. The poem is brilliantly constructed, with the first three lines illustrating the daring of independent souls, the last three lines showing how they are restricted, and the middle two lines providing the transition from the personal to the social level. Nature is brushed aside, and love substitutes both for it and for religion. Dickinson's social satire criticizes all kinds of shallowness from which she fled to thoughts of love. As she moves from personal situation to social dictatorship, the poet expresses an increasingly mocking anger. Read this one to your young friends.
Careful study of its images, progression, and grammar would be a valuable exercise in understanding Dickinson's poetic techniques. Comparison with the more logical sequence of a similar poem offers an instructive contrast. Rather, viewing the snake as a symbol of evil, in addition to seeing it as a sexual symbol, helps us to see how ambivalent is the speaker's attitude toward the snake — to see how she relates to it with a mixture of feelings, with mingled fear, attraction, and revulsion. Perhaps one of the most ground breaking and inventive poets in American history, Dickinson has become as well known for her bizarre and eccentric life as for her incredible poems and letters. Having exchanged pain for comfort, she seems astonished that it could be willed so easily. But the bulk of Dickinson's love poems are certainly not cold, detached, and ethereal. And of all these possibilities, the first is perhaps the most comforting because the resort to a familiar mythic world makes it at least partially comprehensible.
A drop of dew which becomes part of the sea would lose its identity. Quite possibly, Dickinson could not apply her talents to social subjects with much force because they did not arouse in her the kinds of emotion which she struggles to express and control in her best love poems. P Collect J Fr S13. Although half of her work was written during the Civil war. We may further suppose that the speaker is reconstructingor currently knowingan experience whose pain in the past rendered it impossible to know. Aaron Copland, Anthropomorphism, Choir 1039 Words 3 Pages Literary Analysis of the poetry of Emily Dickinson Emily Dickinson is one of the most famous authors in American History, and a good amount of that can be attributed to her uniqueness in writing.
Despite its semantic oddness, the first line is delivered with rhetorical assurance that temporarily contains its volatile subject matter. And yet the fly once again enters into the picture, distracting the dying persona, almost whimsically breaking into his or her straightforward completion of the tasks of dying. Such a victory is triply ironic. The descending angels must have brought new friends. A work of art is a confession. Defiantly joyous in tone — at least on the surface — until its almost tragic final stanza, this poem presents an allegory about the pursuit of personal identity and fulfillment through love, and yet it is quite possible that the joy of the poem conceals a satire directed back against the speaker, a satire which may be the chief clue to the meaning of the last stanza. For many poets, society provides a context for their treatment of love, or perhaps a clear delineation of a world from which they withdraw into love.
Trapped in a small, four-walled house, she hardly ever saw the light of day. Is this the same as flat-out lying? This effective conclusion is quite different from the endings of the poems just discussed, and it helps to demonstrate that Dickinson uses a variety of tones and methods in her treatment of similar material. Emily Dickinson grew up in Amherst, Massachusetts in the nineteenth century. She was fed up with her life. Knowledge of these depths is assigned to the sea rather than to the woman, but the sea seems to be a symbol for part of the woman. The last stanza restores the spatial setting, at least to the limited extent that one prop, a plank, from the material world is poised precariously over this aural abyss. Afterlife, Death, Emily Dickinson 964 Words 3 Pages 16 April 2012 Death Emily Dickinson, who is now considered to be a great American poet, was not a well-known writer during her life in the mid-19th century.
The poem itself expresses comic relief, perhaps as if the speaker were glad not to be troubled about either social pursuits or death, It is also possible that the poet in a neutral or slightly elegiac tone is saying not much more than that the cycle of nature resembles the cycle of man. This is why we need holy texts that address themselves to us in the form of riddles and symbols. Reprinted with the permission of the author. In the third stanza, the threatening sea merges with the threat of a man who may be able to move her emotionally and, hence, prepares her for flight. The thought behind, I strove to join Unto the thought before-- But Sequence ravelled out of Sound Like Balls--upon a Floor. Her poems are noted for the frequent use of the dash. Many of her poems relating to passion and love reflect intense anxiety, but we should not stress their possible abnormality any further than the clarification of these poems requires.