There are intrinsic and extrinsic criticisms of novels, letters, and poems. Each method offers a different perspective on how the readers interpret each piece. Intrinsic criticism is the process of how readers summarize the main points of the piece. Extrinsic criticism is the background information such as: the time period, the author’s biography, and historical references. Any additional data gathered assists with the analysis of the literary text. Emily Dickinson’s poem The Wife will be analyzed by using these two methods of criticism. An intrinsic reading of the poem will be given, insight on whether extrinsic criticism contributes to the reading of the poem or alters its meaning will be disclosed, and lastly a reflection on the relative merits of both criticisms will be provided.
In order to interpret this poem accurately, it required several revisits. Initially, when reading the poem it seems clear the narrator was writing about a woman and her roles in life. This woman gave up everything she considered appealing in the single life, and assumed the roles that were required of her as a wife. I went over the poem and the previous interpretations slightly changed. Because of Emily Dickinson’s unconventional methods, light was shed on other key factors. The first line of the poem reads -She rose to His Requirement-dropt-, this line changes the whole poem because she capitalized the “H” in his. The constant use of unusual capitalization compelled me to the idea that the “His” is a greater being. Emily Dickinson uses such methods in order to bring attention to certain areas she deemed important. The narrator gave the impression as thought the poem was talking about a husband when it referred to “His” but the capitalization signal...
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...a sense trying to solve a problem which in this case is a poem. I agree with poststructuralist views because I think that you cannot successfully solve a piece by researching the time period, author background, and so forth. The authors leave it up to our interpretations because most authors understand the concept that interpretation is no longer in their control when they write a piece. Someone who believes they could actually solve a piece of poetry and be dead on is naive because that seems like a secret we have no way of figuring out.
Intrinsic and extrinsic criticisms are important methods that can be used to enhance the readers understanding of a text. Emily Dickinson’s poem The Wife should be read primarily by what the literary text provides, because when you begin to research, and find additional information it takes away from the pureness of the poem.
Heberle, Mark. "Contemporary Literary Criticism." O'Brien, Tim. The Things They Carried. Vol. 74. New York, 2001. 312.
It is interesting to see how the different Case Studies in Contemporary Criticism are altered by the text they are describing. For example, I have one volume on Portrait of an Artist as a Young Man, and another for Great Expectations, both of which demonstrate the extent to which the object of critique affects the critique itself, such that “deconstruction criticism” in an intellectual vacuum is something different than when a scholar tries to apply it to a particular text, altering both the text as well as the principles of deconstruction. The Awakening gender criticism takes on a different feel from Great Expectation gender criticism even though they are informed by the same principles, because gender in the early Victorian Dickens is different than in the turn of the century American Chopin. In this way the criticism co-constructs with the primary document something different than both the criticism and the original text. Such a syntheses have produced exciting and innovative ideas, refreshing and reviving works from the tombs of academia. Unfor...
With all the different types of literature we have in our world, we also have a similar amount of interpretations of those pieces of literature. Each interpretation is as valid as the other. Literature not only allows the writer to create a wonderful world and a story, it allows the reader to fully embrace the story and find meaning out of it. There are also many different types of literary criticisms. These criticisms are vehicles or guidelines for us to use to understand the reading in a very specific way and really pinpoint the issues and overall theme of the story.
Author’s style is defined as the distinct literary manner that makes his or her expression of content unique from other authors; Katherine Anne Porter and Emily Dickinson have different styles that contribute to a better understanding of the themes of their work. In “The Jilting of Granny Weatherall” Porter uses the strea...
The dash in Emily Dickinson’s poetry, initially edited away as a sign of incompletion, has since come to be seen as crucial to the impact of her poems. Critics have examined the dash from a myriad of angles, viewing it as a rhetorical notation for oral performance, a technique for recreating the rhythm of a telegraph, or a subtraction sign in an underlying mathematical system.1 However, attempting to define Dickinson’s intentions with the dash is clearly speculative given her varied dash-usage; in fact, one scholar illustrated the fallibility of one dash-interpretation by applying it to one of Dickinson’s handwritten cake recipes (Franklin 120). Instead, I begin with the assumption that “text” as an entity involving both the reading and writing of the material implies a reader’s attempt to recreate the act of writing as well as the writer’s attempt to guide the act of reading. I will focus on the former, given the difficulties surrounding the notion of authorial intention a.k.a. the Death of the Author. Using three familiar Dickinson poems—“The Brain—is wider than the Sky,” “The Soul selects her own Society,” and “This was a Poet—It is that,”—I contend that readers can penetrate the double mystery of Emily Dickinson’s reclusive life and lyrically dense poetry by enjoying a sense of intimacy not dependent upon the content of her poems. The source of this intimacy lies in her remarkable punctuation. Dickinson’s unconventionally-positioned dashes form disjunctures and connections in the reader’s understanding that create the impression of following Dickinson through the creative process towards intimacy with the poet herself.
It is significant that the revealed word comes "unsummoned" in a flash of intuition….and yet the implication of the poem is that the revealing of the word must be preceded by the preparatory, conscious, rational effort of probing philology…She [Dickinson] herself was well aware that inspiration, while all-sufficient when present, seldom came even to a great poet.
A traditional method assumes that the criticism involves both explication of what actually went on when the speaker engaged his or her audience, and an evaluation of how well the speaker performed the task of changing the audiences’ perspective of reality. It is also assumed that the traditional method will create a feeling of identification and sense of relatedness between the speaker or writer and the
Bressler, Charles E. Literary Criticism. (3rd ed.) Upper Saddle River New Jersey: Pearson Education, Inc. 2003
New Criticism attracts many readers to its methodologies by enticing them with clearly laid out steps to follow in order to criticize any work of literature. It dismisses the use of all outside sources, asserting that the only way to truly analyze a poem efficiently is to focus purely on the words in the poem. For this interpretation I followed all the steps necessary in order to properly analyze the poem. I came to a consensus on both the tension, and the resolving of it.
Much has been said about Emily Dickinson’s mystifying poetry and private life, especially during the years 1860-63. Allegedly it was during these years that the poetess, at the most prolific phase of her career, withdrew from society, began to wear her “characteristic” white dress and suffered a series of psychotic episodes. Dickinson tended to “theatricalize” herself by speaking through a host of personae in her poems and by “fictionalizing” her inner life as a gothic romance (Gilbert 584). Believing that a poem is “the best words in the best order” (to quote S.T. Coleridge) and that all the poems stemming from a single consciousness bring to surface different aspects / manifestations of the same personal mythology, I will firstly disregard biographical details in my interpretation of Dickinson’s poems 378, 341 and 280 and secondly place them in a sort of “continuum” (starting with 378 and ending with 280) to show how they attempt to describe a “plunge” into the Unconscious and a lapse into madness (I refrain from using the term “journey,” for it implies a “telos,” a goal which, whether unattainable or not, is something non-existent in the poems in question). Faced with the problem of articulating and concretizing inner psychological states, Dickinson created a totally new poetic discourse which lacks a transcendental signified and thus can dramatize the three stages of a (narrated) mental collapse: existential despair, withdrawal from the world of the senses and “death” of consciousness.
...r works, and certainly, the more the traditional the establishment, book or website, the more invisible this possibility becomes. Since Dickinson's works were unintended for publication, the public is entitled via her family to make their own assumptions about her and her work. I contend that the writing style of Dickinson's letters and poetry was conceived with genius, edited and re-edited with that same genius. To take pen to her works, which are by their nature, concise and spare in language, but rich in symbolism, ingenuity, punctuation and grammatical engineering is an insult to her work, and frankly few would succeed in retaining that genius unless merely replacing gender indicative words and imagery.
The notion of the author has often been disputed when it comes to critical literary studies. The argument centers around one basic question: Should the author be considered when looking at a text? There are numerous reasons given as to why the author is important or why the ...
Shackford, Martha Hale. "The Poetry of Emily Dickinson." The Atlantic Monthly 3.1 (Jan. 1913): 93-97. Rpt. in Nineteenth-Century Literature Criticism. Ed. Janet Mullane and Robert Thomas Wilson. Vol. 21. Detroit: Gale Research, 1989. Literature Resource Center. Web. 16 May 2014.
“Major Characteristics of Dickinson’s Poetry.” Emily Dickinson Museum. Trustees of Amherst College, 2009. Web. 23 January 2014.
Brooks attempts to disprove the formalist critics and makes good points among the way in anticipating and devaluing their criticisms. Yet, he fails to prove that formalist criticism should be the only way in approaching literature, especially when contradicting himself.