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Diskenson Insight
In Emily Dickenson's poetry we share images that she sees, and hew viewpoint is often a bit odd, but useful in showing us what she feels. She often splits herself into the seen and the one seeing, as if part of her can observe from outside. In her poems, Emily Dickenson often pauses time and observes very small things, such as a fly and then she focuses upon one well chosen detail. In addition, Dickenson allows other things and people to see her, as in the "gazing grain" she passes in "Because I Could not Stop for Death" Her voice in these poems is calm, almost detached, just reporting what she sees and hears. These always seem to go together, as I do not recall much of her poetry which uses only one.
Dickenson uses imagery and sensory information to convey her meaning, never stooping to merely telling how she feels, so "seeing" is very important in her poetry. She often uses shared imagery among her contemporaries, possibly because most of her poems were written to her friends, shared with them and only published after her death, as noted by Rebecca Patterson (1959) in her book, The Imagery of Emily Dickenson. Therefore, if you really want to understand Emily Dickenson's poetry you must actually read some of the poems of her contemporaries,
What we see through the eyes of Dickenson is also important, and generally scenery, country scenes, possibly from her many long leisurely trips to the south. In the above poem we see a school house, children playing, the horses and the mound of her grave. Thinking of this we can understand her symbolic use of these things. At the end of the poem we see her look back at her trip...
That they are facing "eternity," In this way she tells us that she is really quite all right with the idea of dying, as long as that is a rest.
Generally Dickenson's poetry is grounded in a particular place and .we observe from very near, often through her own eyes. However, in I Know Some Lonely Houses Just Off the Road she is pointing out some scenery where she does not really go, but observes these from afar instead. IN fact the view is an anonymously shared view with the houses and the animals which have chosen to stay.This poem is all about seeing. She says she knows where two could creep.
Where two could creep:
One hand the tools,
The other peep
To make sure all's asleep.
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Old-fashioned eyes,
Not easy to surprise!
We see here the mention of two and their eyes. One pair of hands and the other person only peeps. We are not sure whose eyes are old fashioned, but it appears that these are those of the houses, not the people. Perhaps they watch for visitors, since they are lonely, having been alone for a year more recently. Dickenson goes on to describe how orderly the kitchen would look by night. Then the next verse is again all about seeing.
A pair of spectacles ajar just stir
An almanac's aware.
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Was it the mat winked,
Or a nervous star?
The moon slides down the stair
To see who's there.
Now we have anonymous spectacles, a mat that winks and the moon which sees who is there.…
Walt Whitman or Emily Dickinson exemplifies the Romantic Movement in American literature Romantic Movement in American Literature The Romantic Movement reached America in the 19th century. In America, Romanticism became sophisticated and distinctive as it was in Europe. American Romantics illustrated high levels of moral enthusiasm, devotion to individualism, an emphasis on intuitive point-of-view, and an assumption that the globe was naturally good; however, the reality was that corruption prevailed in
The snake continues to returns, a fellow similarly cool and foreboding, and frightening the poet into abrupt line stops. But the snake has never actually turned against the poet and bared its fangs. It merely moves along the way, without stopping to say hello or goodbye. This is why that although the is a nature lover: "Several of nature's people/I know, and they know me;/I feel for them a
heard a Fly buzz" by Emily Dickinson In her poem "I heard a Fly buzz," Emily Dickinson explores the moment just before the death of the narrator, as she watches a fly buzz about in the final moments before sight fails her. In comparing the human experience to the buzzing-about of a fly in the face of a mortal curtain, Dickinson presents a simultaneously clinical and emotionally subjective consideration of
representation of Death and the impermanence in the short story "A Father's Story" by Andre Dubus, and the poem "Because I could not stop for Death" by Emily Dickinson. These two works were chosen because both speak of Death and impermanence, yet these authors employ different literary forms, characters, settings and plots. "A Father's Story" follows the format of a short story, being prose written in concise paragraphs with
Bright Knots of Apparitions: Transcending Reality in Fascicle Sixteen In the early eighteen sixties, many Americans were concerned with the national fracture that manifested itself in the Civil War. Northerners, galvanized by the Compromise of 1850, which held them punishable by law for aiding escaped slaves, had come to realize that this conflict involved all Americans. The nation seethed with factionalism and looked outward for direct and active solutions to a
Visions of Death as Part of the Life Cycle While the terms "life" and "death" are considered to be polar opposites by most standards, some authors view them as part of the same infinite cycle. For writers like Emily Dickinson and Jean Rhys, death is merely a transitional stage; it is not the end of existence any more than life is the beginning. Evidence of this view of death as a