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Literary techniques in the poetry of emily dickinson
Literary techniques in the poetry of emily dickinson
Literary techniques in the poetry of emily dickinson
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Hollowness in Emily Dickinson’s Poetic Discourse 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. In poem 378 the reader is introduced to the mental world of a speaker whose relentless questioning of metaphysical “truths” has led her to a state of complete “faithlessness”: l... ... middle of paper ... ...son’s Poetry: Stairway of Surprise. New York: Holt, 1960. Eberwein, Jane Donahue. Dickinson: Strategies of Limitation. Amherst: U of Massachusetts P, 1985. Feit Diehl, Joanne. “’Ransom in a Voice’: Language as Defense in Dickinson’s Poetry.” Feminist Critics Read Emily Dickinson. Ed. Suzanne Juhasz. Bloomington: Indiana UP, 1983. 156-75. Gilbert, Sandra M., and Susan Gubar. The Madwoman in the Attic: The Woman Writer and the 19th Century Literary Imagination. New Haven: Yale UP, 1979. Homans, Margaret. “’Oh, Vision of Language’: Dickinson’s Poems of Love and Death.” Feminist Critics Read Emily Dickinson. Ed. Suzanne Juhasz. Bloomington: Indiana UP, 1983. 114-33. Miller, Cristanne. “How ‘Low Feet’ Stagger: Disruptions of Language in Dickinson’s Poetry.” Feminist Critics Read Emily Dickinson. Ed. Suzanne Juhasz. Bloomington: Indiana UP, 1983. 134-55.
Another speaker, Margaret Livingstone delves into the visual aspect of our senses. Livingstone mentions how artists recognize things about vision that neuroscientists are not privy to until years later. Livingstone discussed the differentiation between color and lightness, and how the two contribute differently to a work of art. Color is thought of as “comparing activity” whereas light is thought of as “summing them.” Livingstone indicates that the visual system is subdivided into a ventral system and a dorsal system. The ventral system is responsible for object recognition, face recognition, and color. The dorsal system is responsible for navigating through the environment, special organization, and emotional recognition. The ability for humans to see distance and depth is carried via our colorblind part of our visual system. As a result, Livingstone concludes that one cannot see depth and shading unless the luminance is right to convey three-dimensional.
Gilbert, Sandra M., and Susan Gubar. The Madwoman in the Attic: the Woman Writer and the Nineteenth-century Literary Imagination. New Haven: Yale UP, 2000. Print.
“Although Emily Dickinson is known as one of America’s best and most beloved poets, her extraordinary talent was not recognized until after her death” (Kort 1). Dickinson was born on December 10, 1830, in Amherst, Massachusetts, where she spent most of her life with her younger sister, older brother, semi-invalid mother, and domineering father in the house that her prominent family owned. As a child, she was curious and was considered a bright student and a voracious reader. She graduated from Amherst Academy in 1847, and attended a female seminary for a year, which she quitted as she considered that “’I [she] am [was] standing alone in rebellion [against becoming an ‘established Christian’].’” (Kort 1) and was homesick. Afterwards, she excluded herself from having a social life, as she took most of the house’s domestic responsibilities, and began writing; she only left Massachusetts once. During the rest of her life, she wrote prolifically by retreating to her room as soon as she could. Her works were influenced ...
Sandra M. Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination (New Haven: Yale University Press, 1979)
Vision-- receiving and interpreting light signals from the environment in order to form an image in one's mind-- is an incredibly complex process. Somehow signals from photoreceptors located in the eye are converted into the conscious experience of sight. Of all the aspects of vision, perhaps the most difficult for us to comprehend scientifically is this notion of consciousness. Somehow the brain interprets light waves hitting the retina so that we are visually aware of our surroundings. While the mechanism of signal transduction from the photoreceptor through the visual cortex has been extensively elucidated, science has difficulty dealing with the phenomena of consciousness and awareness, especially on a reductionist level.
Emily Dickinson is one of the great visionary poets of nineteenth century America. In her lifetime, she composed more poems than most modern Americans will even read in their lifetimes. Dickinson is still praised today, and she continues to be taught in schools, read for pleasure, and studied for research and criticism. Since she stayed inside her house for most of her life, and many of her poems were not discovered until after her death, Dickinson was uninvolved in the publication process of her poetry. This means that every Dickinson poem in print today is just a guess—an assumption of what the author wanted on the page. As a result, Dickinson maintains an aura of mystery as a writer. However, this mystery is often overshadowed by a more prevalent notion of Dickinson as an eccentric recluse or a madwoman. Of course, it is difficult to give one label to Dickinson and expect that label to summarize her entire life. Certainly she was a complex woman who could not accurately be described with one sentence or phrase. Her poems are unique and quite interestingly composed—just looking at them on the page is pleasurable—and it may very well prove useful to examine the author when reading her poems. Understanding Dickinson may lead to a better interpretation of the poems, a better appreciation of her life’s work. What is not useful, however, is reading her poems while looking back at the one sentence summary of Dickinson’s life.
Although physician-assisted suicide is legal in some states, euthanasia is illegal throughout the United States. There are three classifications of euthanasia. One is passive euthanasia, which is the withdrawal of medical treatment with the intention to hasten an ill person’s death. Another is physician-assisted suicide, which involve a doctor knowingly and intentionally providing a person with the knowledge or means to commit suicide. This can include counseling about, prescribing, or supplying lethal doses of drugs. The last kind of euthanasia is active euthanasia or the intentional act of causing death of a patient experiencing great suffering. Another controversial piece to euthanasia is non-voluntary euthanasia. Most people, who are candidates for lack of a better phrase, are either in a coma, too young, senile, cognitively impaired, brain damaged or mentally disturbed. Euthanasia comes down to really what the medical definition of death is. According to Robert M. Vetch from the Yale University Press
A recurring theme in Emily Dickinson’s poetry was death. Many years of Emily Dickinson’s adult years consisted of man...
Humphry, Derek. “Euthanasia is Ethical.” Euthanasia. Ed. Carol Wekesser. San Diego: Greenhaven Press, 1995. 17-20. Print. Opposing Viewpoints.
“Behavior is what a man does, not what he thinks, feels, or believes.” was one of Emily Dickinson’s most famous quotes, showing much of her swaying from Romanticism to a more Realistic view, and changing the standards of writing along with it. Between 1858 and 1864 Emily Dickinson wrote over forty hand bound volumes of nearly 1800 poems, yet during her lifetime only a few were published. Perhaps this is why today we see Dickinson as a highly influential writer, unlike those during her time who did not see the potential. Emily Dickinson wrote most of her works towards the end of the romanticism era, but considered more of a realist, ahead of her time and one to shape the new movement. The main characteristic of Romanticism that Dickinson portrays in her writing emphases of the importance of nature to the Romantics, but she is known as a Realist because of her concern and fascination with death, and the harsh realities of life. Emily Dickinson’s upbringing and early education, along with living in reclusion with death all around her, greatly influenced on of the greatest female poets of all time.
“Emily Dickinson’s Poetry.” American Studies at the University of Virginia. 2009. Web. 20 January 2014.
Dickinson, Emily. The Poems of Emily Dickinson. Ed. Thomas H. Johnson. 3 vols. Cambridge: Belknap-Harvard UP, 1955.
Melani, Lilia. ?Emily Dickinson ? Death.? Online Posting. 25 Jan. 2003. Dept. of English: Brooklyn College.
The theme of death is the most prevalent theme throughout all of Emily Dickinson’s poems. According to literary critic Anna Priddy, “Emily Dickinson is often characterized as a poet
Throughout Emily Dickinson’s works, an audience can easily see her feministic views as well as her thoughts about democracy that also relate to other well-known authors. Her analytic and important contributions to poetry have brought a lot of controversy in the pass but mainly influences to 20th century American history. Dickinson has logical and at the same time genius ideas. Her well known themes are related to death, nature, success, grief, faith and religion, and the idea of freedom through her poetry. Emily Dickinson is known for the intensity in her works and focused brilliantly on each subject she wrote about.