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Feminism in American Literature
Feminism in American Literature
Overview of feminism and its place in literature
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The poem #520 (I started Early – Took my Dog) is a complex work that demonstrates about Dickinson’s aggressively feminist poem and her thoughts about nature, culture, scandal and sexual identity.
The poem begins with the two-stanza statement, which announces the speaker’s visits to the sea followed by the sea’s reaction to her presence on the shore. The first two lines of the poem “I started Early – Took my Dog –/And visited the Sea –” declare the motive, goal and rationale for the “visit,” but this declaration does not appears (). The speaker provides a statement of enigmatic fact that she recalls the earliness of this venture with no specific point of departure, but the end of the poem, the “Solid Town” in the concluding stanza, doubles as a point of origin (). From the beginning the speaker does not give us any information concerning the nature of this “visit;” however, the reader could think about several scenarios that the speaker of this poem would take casual early-morning walk accompanied by her dog, an excursion of some ambiguous nature on which the dog might accompany her for protection, and also in an Emersonian vein, a latter day experiment with the nature (). The world “visit” here has two possible definitions (1) “an instance of going to a place, house, etc., for the purpose of inspection or examination” and the verb form (2) “to go to (a place) for the purpose of seeing that everything is in due order” (OED). The poem does not give any indication in its earliest stanza that the range of the term “visit” seems operative, but the more we analysis the poem’s textual boundaries, the more this reading of Dickinson’s “visit” reveals something about her poetic work.
When the speaker reaches the sea, she is associated...
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...a and her response to it at the beginning of the fifth stanza. The speaker being “followed” by the sea shows its hunt after her. Repeating the pronoun “He” alerts us to her continuing terror after she escapes the immediate site of the vulnerability. The sexualized motions of the sea follows the speaker’s that signal a transformation from the sexual aggressor to just a responsive partner from the sea’s part. When the speaker’s sexual urges and energies awakened or started, they outstrip those of the previous aggressive sea and exceed them in enjoinment. The repetition of “he” serves to discriminate the speaker’s state of arousal from the sea. When the speaker defines herself in terms “ankle” and “shoes,” she domesticates limits the irresistible sea with only these two phrases “his Silver Heel” and “ Pearl” because she restricts the sea to rise higher that her ankle.
irresistible, urges the heart to the whale's way over the stretch of the seas.” (Line 60-66).
Emily describes a relaxing slow pace towards an unknown destination. On the way, she enjoys the peaceful scenes. “We passed the school, where children strove, At recess – In the Ring-“(Dickinson 9-10). Emily is reflecting on her past, this may also be seen as the beginning of a life cycle. Emily then goes on to say, We passed the Fields of Gazing Grain (11).
“The voice of the sea is seductive; never ceasing, whispering, clamoring, murmuring, inviting the soul to wander for a spell in abysses of solitude; to lose itself in mazes of inward contemplation. The voice of the sea speaks to the soul. The touch of the sea is sensuous, enfolding the body in its soft, close embrace.”
There is also a sense of acuteness as the words in this stanza are short and sharp, and the lines clash and seem to contrast greatly. " Whispering by the shore" shows that water is a symbol of continuity as it occurs in a natural cycle, but the whispering could also be the sound of the sea as it travels up the shore. The end of this section makes me feel as if he is trying to preserve something with the "river mud" and "glazing the baked clay floor. " The fourth section, which includes four stanzas of three lines, whereas the third section included four-line stanzas and the second section included two-line stanzas, shows continuity once again, as if it's portraying the water's movement. "Moyola" is once again repeated, and "music" is also present, with "its own score and consort" being musical terms and giving the effect of harmony.
The voice of the sea is seductive, never ceasing, whispering, clamoring, murmuring, inviting the soul to wander for a spell in abysses of solitude; to lose itself in mazes of inward contemplation. The voice of the sea speaks to the soul. The touch of the sea is sensuous, enfolding the body in its soft, close embrace (Chopin 25).
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.
One of Emily Dickinson’s greatest skills is taking the familiar and making it unfamiliar. In this sense, she reshapes how her readers view her subjects and the meaning that they have in the world. She also has the ability to assign a word to abstractness, making her poems seemingly vague and unclear on the surface. Her poems are so carefully crafted that each word can be dissected and the reader is able to uncover intense meanings and images. Often focusing on more gothic themes, Dickinson shows an appreciation for the natural world in a handful of poems. Although Dickinson’s poem #1489 seems disoriented, it produces a parallelism of experience between the speaker and the audience that encompasses the abstractness and unexpectedness of an event.
To conclude, there are two main opposing representations and aspects of home presented in this poem, from what is seen as the "norm", the narrators life on land, to the "favoured", the narrators life at sea. Home is irrevocably linked to lifestyle and should not just be where the heart is,(though there is a sense that our "Heart's fulfilment" is important) but should more importantly be a place where we can live a life that will bring us towards heaven, which the poem portrays as our eternal home. The Seafarer is a poem which urges us to carefully "consider where we possess our home, and then think how we com thither."
Emily Dickinson is known for her poetry especially surrounding the subjects of death, love, and nature. These themes, however, are less standard than they may appear at first glance. Dickinson writes poetry with complex themes, and in many cases, each of her poems may be classified by more than one theme. “Because I could not stop for death” is a prime example of Dickinson’s multifaceted work. Emily Dickinson personifies death along with an underlying theme of love in “Because I could not stop for death.”
Dickinson begins the first line of her poem by writing in iambic tetrameter. In the second line she switches to iambic trimeter and proceeds to alternate between the two. This rhyme scheme proves to be particularly effective in complimenting the subject of the poem-- the ocean. When a reader looks at the poem it is easy to see the lines lengthening then shortening, almost in the same fashion that the tide of the ocean flows and ebbs.
Though both Walt Whitman and Emily Dickinson were highly self-reliant and individualistic, he found importance in the “frontiers” and believed the soul was only attainable through a physical connection with nature, whereas she chose to isolate and seclude herself from her community in order to focus solely on her writing. In this analysis, I will look at excerpts from Walt Whitman’s Leaves of Grass and Emily Dickinson’s poems, “I’m ‘wife’— I’ve finished that”, “What mystery pervades a well!” and “I’ll tell you how the sun rose”, to contrast their representations of self-realization and domesticity and the implications of this domesticity on their gender.
This poem is full of visual imagery; one can imagine being the speaker, staring at the fish on the hook. The fish’s brown skin, shapes on his scales, the tiny white sea-lice, the green weed, the blood flowing from his gills, his entrails, and his pink bladder all describing the fish’s body. This allows the reader to imagine as if the fish was in their hands. She not only illustrates the fish as a whole but also ge...
“Emily Dickinson’s Poetry.” American Studies at the University of Virginia. 2009. Web. 20 January 2014.
In “A Bird came down the Walk,” the narrator is observing a bird in what sounds like the narrator’s front yard. At the beginning of the poem, the narrator personifies the little bird. For the other half of the poem, this is not the case. After the narrator attempts to feed the bird, the bird gets scared and flies away. The reader can see the bird in distress because Dickinson uses words like frightened, cautious, and danger which is different from the wording in the first half of the poem. Many people only recognize the blissfulness of nature without acknowledging the atrocious
Emily Dickinson was a nineteenth – century American writer whose poems changed the way people perceive poetry. She is one of the most mysterious writers of all times. Her personal life and her works are still the cause of debates and are not fully solved. Her poems are dedicated to life and finding the real truth. Her two poems: “Tell all the truth but tell it slant” and “Much madness is divinest sense” represent Dickinson’s quest to reveal the mystery and truth of life. In order to fully understand Dickinson’s poems, one must learn about her personal and historical event such as “The Second Great Awakening” and “The United States women’s suffrage movement “surrounding her life that contributed to the creation of her works.