The second two lines personify both the shadow of night and the grass. For the variorum edition, Thomas Johnson accepted a much different and tamer variant for the last two lines, but he restored the famous sun-tippler in Complete Poems and in Final Harvest. In the last two stanzas, Dickinson grows more abstract and yet she preserves considerable drama through the personification of nature, the actions of those that study it, and the frightening results.
The desperation of a bird aimlessly looking for its way is analogous to the behavior of preachers whose gestures and hallelujahs cannot point the way to faith. On the level of analogy, the courtesy probably corresponds to the restrained beauty of the season, and the cold determination corresponds to the inevitability of the year's cycle.
A "druidic difference" would mean that this aspect of nature prophesies a coming magical and mysterious change, but this prospect of change enhances rather than mars nature.
The truth, rather, is that life is part of a single continuity. Lines four through eight introduce conflict. The pain expressed in the final stanza illuminates this uncertainty. The clock is a trinket because the dying body is a mere plaything of natural processes.
We will interpret it as a three-stanza poem. Others believe that death comes in the form of a deceiver, perhaps even a rapist, to carry her off to destruction. The next eight lines create a personified scene of late summer or early autumn.
In the third stanza, attention shifts back to the speaker, who has been observing her own death with all the strength of her remaining senses. In this example, Death is once again the enemy, who is time and time again thwarted by the mercy of Christ.
This image represents the fusing of color and sound by the dying person's diminishing senses. Perhaps it is also implied that the soul belongs to and will find itself most truly in heaven. The first four lines describe a hummingbird in flight. The birds are not aware of death, and the former wisdom of the dead, which contrasts to ignorant nature, has perished.
The tone, however, is solemn rather than partially playful, although slight touches of satire are possible.
She is both distancing fear and revealing her detachment from life.
This poem also has a major division and moves from affirmation to extreme doubt. The second stanza makes a bold reversal, whereby the domestic activities — which the first stanza implies are physical — become a sweeping up not of house but of heart.
By doing so, she has gained a higher status than a wife because she has not belittled herself by submitting to the will of a husband. In the first stanza, cathedral tunes that oppress join a mood of depression to the elevating thought of cathedrals, and in the second stanza, this paradox is concisely suggested by "Heavenly Hurt,'' which connects bliss with pain.
Instead of going back to life as it was, or affirming their faith in the immortality of a Christian who was willing to die, they move into a time of leisure in which they must strive to "regulate" their beliefs that is, they must strive to dispel their doubts.
The style of this poem is representative of Dickinson in a meditative mood. Her real joy lay in her brief contact with eternity.
Children go on with life's conflicts and games, which are now irrelevant to the dead woman. Nature in the guise of the sun takes no notice of the cruelty, and God seems to approve of the natural process.
The third line can mean "it forms an adequate conception of itself or the universe," or "forms" can be read as taking the object "unconcern" in the sixth line, in which case an understood "which" must be inserted before "infects my simple spirit.
The third line employs synesthesia — the description of one sense in terms of another. Originally the grave was marked by a low granite stone with her initials, E. The first two stanzas paint a very vivid picture of the smooth movement and semi-invisibility of a snake in deep grass.
They are "meek members of the resurrection" in that they passively wait for whatever their future may be, although this detail implies that they may eventually awaken in heaven. In the second stanza, "it" refers to the slant of light with its hidden message, but in the third stanza, "it" refers only to that message, which has now become internalized in the speaker.
A Theory You probably know someone who is preoccupied with death: Clearly, Emily Dickinson wanted to believe in God and immortality, and she often thought that life and the universe would make little sense without them.
—Emily Dickinson to Austin Dickinson, December 15, (L65) D espite Dickinson’s humorous depiction of a home life that was less than poetical, in truth her “real life” contained much poetry.
T he subject of death, including her own death, occurs throughout Emily Dickinson’s poems and letters. Although some find the preoccupation morbid, hers was not an unusual mindset for a time and place where religious attention focused on being prepared to die and where people died of illness and accident more readily than they do today.
Emily Dickinson's uncharacteristic lack of charity suggests that she is thinking of mankind's tendency as a whole, rather than of specific dying people.
Emily Dickinson sent "The Bible is an antique Volume" () to her twenty-two year-old nephew, Ned, when he was ill. Emily dickson s portrayal of man vs.
Walt whitman and emily dickinson are two of the most famous poets from the time interestingly, there is speculation that both poets may have had his time as a nurse greatly influenced his writing, and the dying men.
Emily Dickinson read about the world around her, but for most of her adult life, she did not live in it. avoiding it, but Emily's great friend Thomas Wentworth Higginson led the first black regiment in the Union army, and one of her dearest friend's husbands was killed by an explosion in the conflict.
poetry was still considered a man's. Even a modest selection of Emily Dickinson's poems reveals that death is her principal subject; in fact, because the topic is related to many of her other conce | My Preferences; My Reading List As a vicious trickster, his rareness is a fraud, and if man's lowliness is not rewarded by God, it is merely a sign that people deserve to be.Emily dickson s portrayal of man vs