Emily Dickinson Nature

However, the poem has fluidity despite its apparent scarcity of rhyme. After examining the alteration of syllables in each line, a pattern is revealed in this poem concerning darkness. The first nine lines alternate between 8 and 6 syllables. These lines are concerned, as any narrative is, with exposition. These lines set up darkness as an internal conflict to come. The conflict intensifies in lines 10 and 11 as we are bombarded by an explosion of 8 syllables in each line. These lines present the conflict within one's own mind at its most desperate. After this climax, the syllables in the last nine lines resolve the conflict presented. In these lines, Dickinson presents us with an archetypal figure that is faced with a conflict: the “bravest” hero. These lines present the resolution in lines that alternate between 6 and 7 syllables. Just as the syllables decrease, the falling action presents us with a final insight. This insight discusses how darkness is an insurmountable entity that, like the hero, we must face to continue “straight” through “Life” (line 20).

The last two lines of the poem are a timid reflection on what might happen “Had I the Art to stun myself/ With Bolts—of Melody!” (23-24). The idea that creation is a power that can get loose and injure even the creator illuminates why in this poem the artist positions herself firmly as a mere spectator. In these first two poems, we meet a Dickinson who is not entirely familiar to us—even though we are accustomed to her strong desire for privacy, these poems can be startling in the way they reveal the intensity of Dickinson’s fears. She is, after all, shrinking from what is dearest to her—nature, one of her favorite subjects, becomes a harsh judge, and poetry, her favored medium of communication, can suddenly render the reader “impotent” and the writer “stun[ned]” (19, 23). The extremity of her positions in shrinking from the small and beautiful things she loves creates the sense that this is just the beginning of a journey by leaving so much room for change.

11-12) shows how the train points out that this is not easy. It is as if he is saying "I am doing what you ask of me, but you are demanding a lot of me. I want to please you, but sometimes I have to let you know just how much you are asking of me." With the last stanza, Dickinson seems to be implying that the creature is an iron horse when the train neighs "like Boanerges—" (l. 14). During Emily Dickinson’s time, this statement could have been comparing industrial advancement to man’s more familiar way of transportation for many years. Just like a horse, the train is easily controlled despite being all-powerful as Dickinson points out by calling the train "docile and omnipotent" in line sixteen. With the use of docile, Dickinson reminds the reader that though it may appear to be alive, it still cannot move without the control of man. For many years man used loyal and strong horses to travel. Like an obedient horse, this iron horse will get to its destination on time, do what it is told, and accomplish great feats for its master.

The late psychiatrist Elizabeth Kubler-Ross said: “The most beautiful people I’ve known are those who have known trials, have known struggles, have known loss, and have found their way out of the depths.” This inspirational quote suggests that adversity provides people with new opportunities and can drive people to improve their life. Adversity comes in numerous forms, such as emotional, physical, and financial. Individuals have a choice to learn from adversity or allow it to break their character. However, certain types of adversity, such as severe chronic conditions or diseases, do little to improve character and the human condition. Thus, all types of adversity, pain, and suffering are not beneficial, however, most work to improve an

In addition to these three stages, the final stage of eternity was symbolized in the last two lines of the poem, the “Horses Heads” (23), leading “towards Eternity” (24). Dickinson fathomed the incomprehensible progression of life by unraveling its complexity with figurative symbols. Emily Dickinson dresses the scene such that mental pictures of sight, feeling, and sound come to life. The imagery begins the moment Dickinson invites Her reader into the “Carriage.” Death “slowly” takes the readers on a sight seeing trip where they see the stages of life. The first site “We” passed was the “School, where Children strove” (9). Because it deals with an important symbol, —the “Ring”—this first scene is perhaps the most important. One author noted that “the children, at recess, do not play (as one would expect them to) but strive” (Monteiro 20).

Emily Dickinson is one of the most famous American poets. She wrote many poems throughout her lifetime, but it was not until after her death that she became famous. She wrote about death and life, love and separation, and God. She wrote about topics like these because she was inspired by the experiences in her life. Throughout her life, she dealt with problems that caused her to seclude herself, wear only a while dress, and write poems. Many have questioned what caused her seclusion? What happened that was so devastating to make her want to be alone all the time? Why did she always wear white?

Sometimes her views are very romantic, but other times they are intimidating and a little eerie. Many people agree that, “[Dickinson’s] poems’ greatness comes from the elaborate use of literary techniques to give shape to death, and the ambiguity of meaning that allows different interpretations of these journeys”

Two of Dickinson’s universal techniques are metaphor and the fresh application of language; both techniques result in powerful images, and can be seen in two of her poems that focus on nature themes, “ A Bird came down the Walk” and “narrow Fellow.” She closes the poem, “ A Bird” with a stanza equating flight through the air with movement through water,

How she says “And lick the Valleys up –” (2), “Around a Pile of Mountains –” (5), and “Then chase itself down Hill” (13). These all show how everything is made smaller than they actually are, like models of the actual mountains and valleys. Yet, as much as she says that she likes watching the train she does not like how it does as it wills. An example of this is in the line: “To fit its Ribs / And Crawl Between” (9-10) meaning the train needs tracks to travel and when those tracks are built it cuts through the land and the train does not care, because it is “omnipotent”. Dickinson goes on to say:

“What is striking in the work of Emily Dickinson as one searches it for her beliefs is the frank, thoughtful, sometimes playful, but always direct approach which she makes to the problems of life, death, and immortality” (Humiliata 145). Dickinson gives her readers many concise works with dozens of underlying meanings, however the most prominent, is her compassion for her beliefs and religion. Furthermore, Dickinson ties her ideas of faith strongly to the natural world and her surroundings.

With the reader focusing in on such particular elements, they are able to see that the poem implies that stepping into the darkness takes one’s life onto a road filled with difficulty. In fact, the emphasis on the reader is intentionally brought about through Dickinson’s choice to use first

Disguised as a carriage ride, Dickinson cleverly creates her metaphor of death. The carriage starts out riding and passing beautiful, natural scenery, similar to the journey of life. The ride is described as slow, and when the carriage stops, the horses of the carriage have their heads pointed toward. Whether this "eternity" resembles Heaven or Hell, it remains unclear. This poem gives an accurate representation of the short journey's people have until

Running through Dickinson's work is a concern with the workings of the body itself. Her poems offer a compelling inner perspective on the breath, the circulation of the blood, varieties of pain, and the last moments of life itself. While human-scaled and engaged with the viscerality of the everyday, her work simultaneously conjures the epic and the immense — cosmic rhythms

In the sophisticated world of plants, as well as the wildflowers, trees, and shrubs that made up Emily Dickinson's Amherst, provided the poet with a constant source of inspiration and companionship. Emily Dickinson gardened throughout her life. At age eleven, she announced to a friend, "My Plants grow beautifully" (L3). In her middle years, she was able to tend plants year-round in the glasshouse her father added to the Homestead. Dickinson once said, "My flowers are near and foreign, and I have but to cross the floor to stand in the Spice Isles” (L315). A letter written just a few years before her death reminds us that Dickinson had to work to make such magic happen, "I am very busy picking up stems and stamens as the hollyhocks leave their clothes around"

Have you ever felt like life was knocking you down constantly by darkness? Well, the poems by Emily Dickinson tell us all about the experience and then some. The poems are called “We grow accustomed to the Dark” and “Before I got my eye put out”. But, when people talk about sight, they can be foreshadowing about something else. The speaker in these poems are talking about adjusting, positivity and accepting the change.