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Emily Dickinson, Keetje Kuipers, and Ruth Stone all deal with the idea of death in their poems "Color - Caste -- Denomination," "My First Lover Returns from Iraq," and, respectively, "Reality." These poets focus on this concept with regard to individuals they loved but appear to be less concerned with the tragic nature of death. Instead, they are apparently interested in concentrating on life in contrast to death and with the idea of death in general as being particularly abstract.
Kuipers and Stone appear to be dedicated at presenting the more vivid image of death rather than to use symbolism as a means to communicate with audiences. I find this post to be especially intriguing because of the way that it deals with all three poets. The fact that the post is primarily focused on emphasizing the differences as well as the similarities between the poets is probably meant to have readers acknowledge how people tend to put across similar attitudes when coming across the idea of death. The writer appears to be devoted to emphasize that all three poets are actively engaged in providing audiences with the opportunity to understand that death does not necessarily have to be perceived as a complex idea. Instead, it can also be looked at as something that is perfectly normal and that differentiates between beautiful living individuals and lifeless bodies.
Although the writer underlines the fact that all of the poets are actively involved in promoting a topic that is somewhat common from their point-of-view, it is difficult to follow the exact relationship between the three and their poems as seen from the writer's perspective. To a certain degree, it is actually intriguing that the writer focuses on how each of the poets understands the idea of death. Not only are they inclined to believe that death is actually not very different from living, as they actually consider that there is a strong relationship between the two concepts and that people need to accept the fact that dying does not necessarily that the departed individual is no longer connected to the living world.
Emily Dickinson and Ezra Pound Ezra Pound's poem "The River-Merchant's Wife: A Letter" is inspired by Chinese poetry, and dramatizes the situation of the Chinese wife of a traveling salesman. In its empathetic portrayal of the life of a woman, it resembles poems by Emily Dickinson -- but the difference is, of course, that Pound's form is fundamentally dramatic. Pound announces, in his title, the speaker of the poem. Dickinson's lyric
Emily Dickinson and "The World is Not Conclusion" The poems of Emily Dickinson have been interpreted in a multitude of ways and often it is hard to separate the narrator of her works with the woman who wrote them. Few authors have such a close association between the individual and their work as Emily Dickinson. In Dickinson's poetry, the narrator and the poet are often seen as interchangeable beings. Themes that
" typical way in which a poem by Dickinson is structured is by the use of the "omitted center." This means that an initial statement is followed by an apparent lack in development and continuity and the inclusion of strange and seemingly alien ideas. However, these often contradictory ideas and images work towards a sense of wholeness and integrity which is essentially open-ended in terms of its meaning. "Often the
The study of geology becomes a central underlying theme in many of her works due to the influence of Hitchcock. Dickinson adopted the view that the study of nature should be an intermingled spiritual as well as naturalist journey, and as a result, places strong emphasis on how to explore spiritual and romantic Truth, through the allegory of nature and geology. Dickinson's poetic vision was not to advocate the strong
.. "I could not see to see" (from Dickinson, "465"). Words; phrases, and lines of poetry composed by Dickinson, within a given poem, are also typically set off, bookend-like (if not ruptured entirely at the center) by her liberal use of various punctuation "slices" (or perhaps "splices" is the better word) appearing most often in the form of either short and/or longer dashes (or combinations of these), e.g.: "-"; and/or
Emily Dickinson's poem 632 ("The Brain -- is wider than the sky -- ") is, in its own riddling way, a poem that grapples with the Christian religion, while at the same time being a poem about the poetic imagination itself. Dickinson's religious concerns are perhaps most evident when considering the form of the poem (and indeed the form of so many of her poems). The meter and the rhyme