EMILY DICKINSON. BIOGRAPHY born in Amherst, Massachusetts, USA, December 10, 1830. Her quiet life was infused with a creative energy that produced almost

EMILY DICKINSON

BIOGRAPHY born in Amherst, Massachusetts, USA, December 10, 1830. Her quiet life was infused with a creative energy that produced almost 1800 poems and a profusion of vibrant letters. Amherst, a strict Calvinist community, 50 miles from Boston, well known as a center for Education, based around Amherst College. Her family were pillars of the local community; their house known as The Homestead or Mansion was often used as a meeting place for distinguished visitors. Emilys father was strict and keen to bring up his children in the proper way. Emily said of her father. his heart was pure and terrible. At a young age, she said she wished to be the best little girl. However despite her attempts to please and be well thought of, she was also at the same time independently minded, and quite willing to refuse the prevailing orthodoxys on certain issues. Calvinism is the theological system associated with the Reformer John Calvin that emphasizes the rule of God over all things as reflected in its understanding of Scripture, God, humanity, salvation, and the church.

EMILY AS A YOUNG WOMAN Her lively Childhood and Youth were filled with schooling, reading, explorations of nature, religious activities, significant friendships, and several key encounters with poetry. Her most intense writing years consumed the decade of her late 20s and early 30s; during that time she composed almost 1100 poems. She made few attempts to publish her work, choosing instead to share them privately with family and friends. Among her peers, Dickinson's closest friend and adviser was a woman named Susan Gilbert. In 1856, Gilbert married Dickinson's brother, William Austin Dickinson. All of the Dickinson siblings, as well as Gilbert, lived on the large Dickinson Homestead in Amherst.

EMILY AND HER SECLUSION In her later Years Dickinson increasingly withdrew from public life. Her garden, her family (especially her brothers family at The Evergreens), close friends, and health concerns occupied her. Dickinson's seclusion from 1885 onwards was probably partly due to her responsibilities as guardian of her sick mother. Scholars have also speculated that she suffered from conditions such as agoraphobia, depression and/or anxiety. It was also during this time that Dickinson was most productive as a poet, filling notebooks with verse without any awareness on the part of her family members. In her spare time, Dickinson studied botany and compiled a vast herbarium. She also maintained correspondence with a variety of contacts. One of her friendships, with Judge Otis Phillips Lord, seems to have developed into a romance before Lord's death in 1884. Agoraphobia is an anxiety disorder characterized by anxiety in situations where the sufferer perceives certain environments as dangerous or uncomfortable, often due to the environment's vast openness or crowdedness. As a result of her seclusion, Dickinson became known as the woman who dresses wholly in whitewrites finely but no-one ever sees her.

EMILYS DEATH Dickinson died of kidney disease in Amherst, Massachusetts, on May 15, 1886. She is buried on the family Homestead, which is now a museum. She left precise instructions for her funeral such as the route to be taken from her house to the churchyard and the white dress she was to be laid out in. After her sister's death, Lavinia Dickinson discovered hundreds of her poems in notebooks that Emily had filled over the years. The first volume of these poems was published in 1890, with additional volumes following. A full compilation, The Poems of Emily Dickinson, wasn't published until 1955.

HOWEVER Dickinson was very eccentric in her use of punctuation and capital letters. Generally her odd use has the purpose of emphasis. After her death, Thomas Wentworth Higginson an editor, whom did not fully understand the nature of Dickinsons talent when she was alive, had edited her poems and made some corrections. As a result much of her power in this unusual style was lost in the alteration. Emily Dickinson's stature as a writer soared from the first publication of her poems in their intended form. She is known for her poignant and compressed verse, which profoundly influenced the direction of 20th century poetry. The strength of her literary voice, as well as her reclusive and eccentric life, contributes to the sense of Dickinson as an indelible American character.

WHATS SO SPECIAL ABOUT DICKINSON? 1.Explores death, morality and immortality. 2.Endings of her poems are often left open 3.Sets herself a task of definition (hope, despair, pain, joy) 4.Mixes abstract concepts and concrete details. 5.Words and issues given attention by unconventional use of capital letters and the dash.

I FELT A FUNERAL IN MY BRAIN An account of the progress of a funeral from the perspective of the person in the coffin Probably written in 1861- difficult period for Dickinson as she had both religious and artistic doubts. Had a complicated and disappointed feelings for Samuel Boules (Editor of Springfield Republican Newspaper).

I felt a Funeral, in my Brain, And Mourners to and fro Kept treading - treading - till it seemed That Sense was breaking through - And when they all were seated, A Service, like a Drum - Kept beating - beating - till I thought My mind was going numb - Written in the first person narrative, past tense. Suggests physical and intense experience Abolishes barrier between sickness of the mind and the body. Repetition- impacts her physically From Brain (1) to mind (8)- physical intensity lessened, becomes more psychological. However, it is thought Dickinson found no clear distinction between mind and body Use of dash captures the insistent nature of noise. It also fragments the comprehension of the text.

And then I heard them lift a Box And creak across my Soul With those same Boots of Lead, again, Then Space - began to toll, As all the Heavens were a Bell, And Being, but an Ear, And I, and Silence, some strange Race, Wrecked, solitary, here - And then a Plank in Reason, broke, And I dropped down, and down - And hit a World, at every plunge, And Finished knowing - then - Repetition of And suggests sense of forward motion, powerless to stop The I becomes disorientated, boundary between internal and external collapses. The last two stanzas maybe seen as if the speaker is entering death. Experience from physical to psychological has developed a spiritual quality Marks time- decisive moment Reduced to just hearing as sound fills the room Sense of Isolation- shipwrecked from life. Cut-off along with silence and left here. Startling immediacy to this moment Poem is moving again Plank (image of grave) in Reason did not hold up- cannot make sense I, a new experience- new levels, new worlds, to finish knowing. What does Dickinson know?

KNOWING o Poets knowledge is beyond finished o Speaker has finished imagined funeral with the knowledge of something she cannot express o Knowledge itself is finished o Dickinson's desire to experience death- beyond the imaginations capacity to do so o Or. Is this poem just a narrative of a nightmarish, terrifying experience?

I HEARD A FLY BUZZ- WHEN I DIED- This poem can be compared to I felt a funeral in my brain as it also explores the transition between life and death. Written in the past tense, in the voice of the dying person, and describes the moment of death. It is important to note that in the Calvinists tradition, the moment of death is the moment when the soul faces Gods judgment.

I heard a Fly buzz - when I died - The Stillness in the Room Was like the Stillness in the Air - Between the Heaves of Storm - The Eyes around - had wrung them dry - And Breaths were gathering firm For that last Onset - when the King Be witnessed - in the Room - I willed my Keepsakes - Signed away What portion of me be Assignable - and then it was There interposed a Fly - With Blue - uncertain - stumbling Buzz - Between the light - and me - And then the Windows failed - and then I could not see to see -

I heard a Fly buzz - when I died - The Stillness in the Room Was like the Stillness in the Air - Between the Heaves of Storm - The Eyes around - had wrung them dry - And Breaths were gathering firm For that last Onset - when the King Be witnessed - in the Room - The startling perspective is announced- the speaker is the person dying. The moment is dominated by the buzzing of a fly in the death-room. As death approaches, the mourners gather and wait for the moment when their King or God gives judgment. Be witness- they are filled with expectancy. Use of dashes and run on lines take away from the sing-song effect of the hymn form. Instead they get the reader to slow down, providing emphasis. Detailed evocation of a death scene.

I willed my Keepsakes - Signed away What portion of me be Assignable - and then it was There interposed a Fly - With Blue - uncertain - stumbling Buzz - Between the light - and me - And then the Windows failed - and then I could not see to see - Speaker has tidied up her legal affairs and waits for the moment of death However, it is not the presence of God coming to claim her soul that has filled her but a fly who has interposed and filled her consciousness. Arrival of a fly might suggest human decay and corruption- is Dickinson trying to tell us that death cannot be managed, arranged or ordered. Syntax becomes fractured with dashes- as moment of death approaches, failure of consciousness of sight and sound blur and become one. The stumbling, buzzing fly comes between the dying persons sight and source of light. The buzzing fly suggest life is a comedy rather than a tragedy. The buzzing is unexpected, like a drunkard disturbing the solemnity of an important occasion. Images of light and darkness- speaker is plunged into the darkness of death and the moment has passed

I HEARD A FLY BUZZ- WHEN I DIED- The ending of the poem, and the anti-climax it describes, suggests that humans have no way of knowing if the immortal life with God, that their faith actually professes, actually exists. I could not see to see-: is this the message of the poem that after dying all is darkness and emptiness? Is that the significance of the dash that ends the poem? This may offer evidence of Dickinsons lack of faith in the afterlife with God.

"Hope" is the thing with feathers That perches in the soul And sings the tune without the words And never stopsat all And sweetestin the Galeis heard And sore must be the storm That could abash the little Bird That kept so many warm I've heard it in the chillest land And on the strangest Sea Yet, never, in Extremity, It asked a crumbof Me.

Written in 1861 ( same as I Felt and I heard) after a difficult period in her life, Dickinson becomes optimistic and reveals a cheerful, resilient mood. Use of physical features to DEFINE an abstract experience. (One of her definition poems) Although the poem consists of a series of comparisons, Dickinson does not use the word like. Hope is not like a thing with feathers, it IS the thing with feathers. Her direct and confident statements make her definition vivid and immediate. Like religious symbolism, Hope is imagined as having some of the characteristics of a bird.

DEFINITION POEM: PHYSICAL DETAILS DEFINING THE ABSTRACT "Hope" is the thing with feathers That perches in the soul And sings the tune without the words And never stopsat all And sweetestin the Galeis heard And sore must be the storm That could abash the little Bird That kept so many warm Use of metaphors, does not use like- a sense of comparisons First line is a confident and direct statement- vivid and immediate Hope- some characteristics of a bird. It can fly and lift the spirit. Feathers are warm and comforting Hope resides in the soul The song Hope sings is beyond logic, reason and our own limitations. It is resilient and unceasing In times of distress and uncertainty, Hope may seam but a little bird i.e. it may seem slight but it is powerful and can comfort many

LAST STANZA OUTLINES DICKINSONS PERSONAL EXPERIENCE OF HOPE IN TIMES OF HER OWN ANGUISH I've heard it in the chillest land And on the strangest Sea Yet, never, in Extremity, It asked a crumbof Me. Hope has offered comfort and has asked nothing in return. Hope is generous and others-seeking. The last stanza is a solemn note as it gives Hope the dignified celebration it deserves. Form: Sing song nature is achieved with half rhymes, enjambment (run-on-lines), repetition and alliteration

THERES A CERTAIN SLANT OF LIGHT This poem explores a state of mind in which the comfort of hope is absent. In its place there is despair which she associates with a certain kind of winter light falling on the landscape. The poem was probably written 1861 (like the other three poems we have studied) during which she suffered a major personal crisis. The speaker sees the light as an affliction, affecting the inner landscape of the soul.

There's a certain Slant of light, Winter Afternoons That oppresses, like the Heft Of Cathedral Tunes Heavenly Hurt, it gives us We can find no scar, But internal difference, Where the Meanings, are None may teach it Any 'Tis the Seal Despair An imperial affliction Sent us of the Air When it comes, the Landscape listens Shadows hold their breath When it goes, 'tis like the Distance On the look of Death

THERE'S A CERTAIN SLANT OF LIGHT There's a certain Slant of light, Winter Afternoons That oppresses, like the Heft Of Cathedral Tunes Heavenly Hurt, it gives us We can find no scar, But internal difference, Where the Meanings, are Striking simile: Winter and church music depicts the heaviness of the soul. The light is oppressive on the speaker. The image becomes music- Dickinson blurs the senses (synesthesia) which creates a feeling of disturbance. No physical wounds but affects her inner life/ soul and brings despair. One could say she is suggesting a relationship between Heaven and humanity. Heaven seems to be cruel to humanity.

THERE'S A CERTAIN SLANT OF LIGHT None may teach it Any 'Tis the Seal Despair An imperial affliction Sent us of the Air When it comes, the Landscape listens Shadows hold their breath When it goes, 'tis like the Distance On the look of Death The Hurt in stanza 2 cannot be explained, it is without remedy. Seal: Royal stamp/ Closed communication, Authoritative style. Tis- the slant of light is a sign of despair- both a psychological and a spiritual condition Seal and Imperial: message is sent by a higher authority. Message: Human mortality beyond contradiction? Movement from inner landscape to external one Light causes the world to be still and hushed. Passing of the light does not lift the feeling of despair but in fact leaves a chill- Distance is seen between present and death. Dash= The unknown into which we all face.

First published anonymously in 1861 where two lines were altered by the editor to achieve an exact rhyme and another was changed to make the meaning clearer. Central metaphor of the poem is intoxication. This is ironic because Dickinson grew up in a puritan household and her father was a supporter of abstinence from alcohol. It is also ironic that Dickinson chose to write this poem in the common rhythm of hymns. The poem is about nature and how experiencing it is so wonderful and intoxicating that it's like being drunk.

I taste a liquor never brewed From Tankards scooped in Pearl Not all the Frankfort Berries Yield such an Alcohol! Inebriate of air am I And Debauchee of Dew Reeling thro' endless summer days From inns of molten Blue When "Landlords" turn the drunken Bee Out of the Foxglove's door When Butterflies renounce their "drams" I shall but drink the more! Till Seraphs swing their snowy Hats And Saints to windows run To see the little Tippler Leaning against the Sun!

I taste a liquor never brewed From Tankards scooped in Pearl Not all the Frankfort Berries Yield such an Alcohol! Inebriate of air am I And Debauchee of Dew Reeling thro' endless summer days From inns of molten Blue Central metaphor: intoxication brought on by a joyous appreciation of life. The poem describes the speakers sense of delight in the beauty of the world around her. An exaggerated playful tone is established from the first line. Liquor tastes of something never existed before- of nature The extravagant imagery captures the mood of dizzy happiness that infuses the poem. Celebrates the joy of excess, a reckless, indulgent joy

When "Landlords" turn the drunken Bee Out of the Foxglove's door When Butterflies renounce their "drams" I shall but drink the more! Till Seraphs swing their snowy Hats And Saints to windows run To see the little Tippler Leaning against the Sun! Last stanza: does not show the worlds beauty as a sign of Gods creativity. The inhabitants of heaven are presented as faintly ridiculous, enclosed and maybe envious of freedom and of the little Tippler. leans against the- Sun-- Comic rebelliousness? Applauded by the angels as they swing their hats to honour her? OR some Christians believe the Sun is a symbol of Christ. The speaker maybe announcing their intention to enjoy the beauty of the world until they come into the company of Christ Images of flowers as inns or taverns and bees as drunkards gives the poem a sense of cartoon humour.

AFTER GREAT PAIN A FORMAL FEELING COMES- Written in 1862, some critics believe she was on the edge of madness at the time. There is an absence of personal statement which gives the poem a universal quality, as if the poet is speaking for all who have suffered great pain. The experience is one that all of us will undoubtedly endure at some time or other and may be one you have already endured. Dickinson brilliantly recreates the suffering we undergo after some terrible, excruciating event in our lives. The specific cause of the torment in this poem does not matter; whatever the cause, the response is the same, and, in this poem, the response is what matters. She traces the numbness experienced after some terrible blow. Is numbness one way we protect ourselves against the onrush of pain and against being overwhelmed by suffering? She is discussing emotional pain, but don't we respond similarly to a physical blow with numbness before pain sets in?

After great pain a formal feeling comes- The nerves sit ceremonious like Tombs- The stiff Heart questions was it He, that bore, And Yesterday-or Centuries before? The Feet, mechanical, go round- Of Ground, or Air, or Ought- A Wooden way Regardless grown, A Quartz contentment, like a stone- This is the Hour of Lead- Remembered, if outlived, As Freezing persons, recollect the Snow- First- Chill- then Stupor- then the letting go-

After great pain a formal feeling comes- The nerves sit ceremonious like Tombs- The stiff Heart questions was it He, that bore, And Yesterday-or Centuries before? The Feet, mechanical, go round- Of Ground, or Air, or Ought- Wooden way Regardless grown, A Quartz contentment, like a stone- Not properly described- Why not? This pain does not lead to a loss of control but control of formality. Long sentences in stanza one are pleasant Contrasting with stanza one, a disjointed movement is formed in stanza 2 with unconnected sensations and thoughts. This reflects the minds ability to make sense of experience and derive meaning from it. Pain results in hard, stone like insensitivity which brings its own kind of contentment. The word contentment seems ironic.

This is the Hour of Lead- Remembered, if outlived, As Freezing persons, recollect the Snow- First- Chill- then Stupor- then the letting go- Nature of contentment is explained- heavy, deadening oppression when all human sensations become frozen. This is not forgotten even if they survive it. The experience is likened to that of a person freezing in snow. The thoughts are again incomplete. Has the freezing person survived this ordeal or does the experience continue?

I COULD BRING YOU JEWEL- HAD I A MIND TO- Although Dickinson was a recluse, she had a wide circle of friends to whom she wrote many letters. Many of her letters took the form of poems, or were written to accompany small gifts that she enclosed. These poems, many of them written as riddles, show the playful and humorous sides of Dickinsons personality. It is thought that this poem was intended as a token of her love although she took considerable pains to disguise the identity of her beloved. One of her most joyful poems.

I COULD BRING YOU JEWELS--HAD I A MIND TO-- I could bring You Jewels--had I a mind to-- But You have enough--of those-- I could bring You Odors from St. Domingo-- Colors--from Vera Cruz-- Berries of Bahamas--have I-- But this little Blaze Flickering to itself--in the Meadow-- Suits Me--more than those-- Never a Fellow matched this Topaz-- And his Emerald Swing-- Dower itself--for Bobadilo-- Better--Could I bring!

THE FIRST TWO STANZAS THE SPEAKER CONSIDERS THE GIFT SHE WILL OFFER HER BELOVED, THE YOU OF THE POEM. SHE SETTLES ON A SMALL MEADOW FLOWER. THE CHOSEN GIFT IS A MARK OF THE SPEAKERS FREEDOM AND UNIQUENESS, AND A REFLECTION, PERHAPS, OF HER UNSHOWY PERSONALITY. I could bring You Jewels--had I a mind to-- But You have enough--of those-- I could bring You Odors from St. Domingo-- Colours--from Vera Cruz-- Berries of Bahamas--have I-- But this little Blaze Flickering to itself--in the Meadow-- Suits Me--more than those-- The opening line of the poem strikes a note of confidence and playfulness, which is sustained to the end of the poem. This gift gives the speaker a note of confidence and self-ease. It is worth noting the first stanza contains luxurious, exotic gifts which is reflected in the long lines. However, Dickinson employs shorter lines when she settles on her chosen gift which reflects her tone becoming more decisive. There is a conversational feel to the opening lines, achieved by the length of the line and the phrase had I a mind to. This is Dickinson at her most relaxed.

THE CONCLUDING RHETORICAL QUESTION SUGGESTS THAT THE FLOWER IS THE BEST GIFT SHE COULD OFFER. Never a Fellow matched this Topaz-- And his Emerald Swing-- Dower itself--for Bobadilo-- Better--Could I bring! A jaunty confident tone is evident in the use of the word fellow. Notice how, in this final stanza, the assured, confident tone is emphasized in the use of the word Never and in rhyming of Swing and bring, which closes her argument with a ring of authority. In its playful, assured way, the poem establishes that the true value of gifts and the true nature of riches cannot be measured in material terms.

FORM OF POEM Dickinson employs a four line stanza with the rhyme occurring between lines 2 and 4. Unlike other of her poems, there is a conversational feel to the opening lines, achieved by the length of the line and the phrase had I a mind to. This is Dickinson at her most relaxed. As the poem proceeds, the tone becomes less conversational and concludes with the magisterial four word last line.

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EMILY DICKINSON. BIOGRAPHY born in Amherst, Massachusetts, USA, December 10, 1830. Her quiet life was infused with a creative energy that produced almost