The Poet's Tool - The Words of Emily Dickinson
A poet couched in mystique and controversy--that is Emily Dickinson. But amidst all the disagreement, one idea critics seem to agree upon is the recognition of this remarkable poet's love of language. Emily Dickinson's love affair with words fed her desire to master their use whether individually or combined in phrases until they said exactly what she wanted them to say. For Emily Dickinson words were a fascination and, in her hands, they become the poet's tool.
The Gospel of John opens with the statement, "In the beginning was the word" (1:1). Donald Thackrey takes this phrase and applies it to Emily Dickinson's fascination with the individual word (1). She "is one of the foremost masters of poetic English since Shakespeare" (Rupp, 93). The determination shown in the masterly quest to discover the right word is one of the primary means of defining what makes Emily Dickinson's poetry distinct from all other poetry (Rupp, 93).
In her poem "I dwell in Possibility--" (#657) she wrote:
I dwell in Possibility --
A fairer House than Prose --
More numerous of Windows --
Superior -- for Door -- . . . (1-4)
The use of the word "possibility" illustrates Dickinson's personal awareness of the range of ideas, feelings, and images to be found in the combination of words into phrases and the linking of those phrases into poems. "Possibility is Emily Dickinson's synonym for poetry" and, since the possibilities are endless, Dickinson's poetry presents no final truth (Weisbuch 1). Further describing her attitudes in "They shut me up in Prose --" (#613), it can be discovered that for Dickinson "The House of Prose" represented "conventional an...
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...B. Emily Dickinson: An Introduction and Interpretation. NY: Barnes and Noble, Inc., 1967.
Rupp, Richard H., ed. Critics on Emily Dickinson: Readings in Literary Criticism. Coral Gables: U of Miami P, 1972.
Sherwood, William R. Circumference and Circumstance: Stages in the Mind and Art of Emily Dickinson. NY: Columbia UP, 1968.
Thackrey, Donald E. Emily Dickinson's Approach to Poetry. Brooklyn: Haskell House Publishers Ltd., 1976.
Weisbuch, Robert. Emily Dickinson's Poetry. Chicago: The U of Chicago P, 1975.
Additional Works Consulted
Luce, William. The Belle of Amherst: A Play based on the Life of Emily Dickinson. Boston: Houghton Mifflin Company, 1976.
Moore, Geoffrey, ed. Great American Poets: Emily Dickinson. NY: Clarkson N. Potter, Inc., 1986.
Robinson, John. Emily Dickinson: Looking to Canaan. London: faber and faber, 1986.
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Approaching Emily Dickinson’s poetry as one large body of work can be an intimidating and overwhelming task. There are obvious themes and images that recur throughout, but with such variation that seeking out any sense of intention or order can feel impossible. When the poems are viewed in the groupings Dickinson gave many of them, however, possible structures are easier to find. In Fascicle 17, for instance, Dickinson embarks upon a journey toward confidence in her own little world. She begins the fascicle writing about her fear of the natural universe, but invokes the unknowable and religious as a means of overcoming that fear throughout her life and ends with a contextualization of herself within both nature and eternity.
Edith Wylder, The Last Face: Emily Dickinson's Manuscripts (Albuquerque: University of New Mexico Press, 1971).
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Emily Dickinson, who achieved more fame after her death, is said to be one of the greatest American poets of all time. Dickinson communicated through letters and notes and according to Amy Paulson Herstek, author of “Emily Dickinson: Solitary and Celebrated Poet,” “Writing was the way she kept in touch with the world” (15). Dickinson’s style is unique and although unconventional, it led to extraordinary works of literature. Dickinson lived her life in solitude, but in her solitude she was free to read, write and think which led to her nonconformity and strong sense of individualism. Suzanne Juhasz, a biographer of Dickinson, sums up most critics’ idea of Dickinson ideally: “Emily Dickinson is at once the most intimate of poets, and the most guarded. The most self-sufficient, and the neediest. The proudest, and the most vulnerable. These contradictions, which we as her readers encounter repeatedly in her poems, are understandable, not paradoxical, for they result from the tension between the life to which she was born and the one to which she aspired” (1). Dickinson poured her heart and soul into over 1,700
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Phillips, Elizabeth. "The Histrionic Imagination." Emily Dickinson: Personae and Performance. University Park and London: Penn State, 1919. 85-87. Print.
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