Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Emily dickinson literary criticism
Emily dickinson literary criticism
Emily dickinson literary criticism
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Emily dickinson literary criticism
How ironic is it that Emily Dickinson’s poems are given titles by the majority that she so criticizes? In “Much Madness is divinest Sense”, Emily Dickinson questions the credibility of majority opinion and presents “Madness” as the truth, one not tampered by the hardened shell of sugarcoated public approval. Dickinson, herself a recluse in her later life, creates a speaker who conveys that it isn’t the status quo that defines the inherent purpose of something, that popularity doesn’t justify conviction. The poem pulls the curtains off and, under a gossamer veil of contempt, shows that perhaps it isn’t the commonly upheld belief that withstands the erosion of time, but rather the unprecedented, the radical, the insane, that preserve human integrity.
To start us off, the speaker throws us off balance by juxtaposition of the first line. How can “Much Madness” be the golden view of which we revere if it is indeed madness? Perhaps “Madness” isn’t synonymous with insanity; instead “Madness” is challenging the depth beyond what we see on the surface, we as the majority because the dissenter may be the one who truly makes “Sense” of reality.
In the second line, the speaker reveals the view’s beholder. In contrast to what we believe, it isn’t the ignorant or the deranged that give light to this perspective; it’s the perceptive, the insightful, the “discerning Eye”, who extol this view of “Madness” as the truth.
Once again, the speaker gives us a contradiction parallel to her first argument. How can “Much Sense” be prisoner to a straightjacket, “the starkest Madness”? In this regard, sense isn’t the truth, but rather a perception of what “the Majority” claims to be true. Sense, then, isn’t the consequence of reason or logic, but con...
... middle of paper ...
...the word that came before it. Examples of this include the dashes after “prevail”, “dangerous”, and “Chain”, where the dash serves to reflect upon what came before it.
In just eight lines Emily Dickinson manages to send such a powerful message about the sins on society. Maybe what we all perceive as the truth is but the history written by liars. Maybe the wisdom spoon-fed to us since birth are nothing more than exaggerations of the truth, contorted to give benefit to the one telling the story. Dickinson, isolated from her contemporary society, reveals the inner thoughts of a mind not perverted by the convictions of others. And through this, Dickinson, the “dangerous”, the recluse, the one who dared “demur” from society’s conventions, frees herself from the chains of timid feminism and immortalizes herself against the entropy of father time.
In line with these questions, Durrell emphasizes that the inability to understand often leads to fear. Moreover, with little or no knowledge of an event or concept, people tend to feel powerless and out of control. Without this necessary understanding, they are unable to have any influence on the situation. One such situation is madness, which is little understood, and the source of madness virtually unknown. People often fear madness, and try to avoid others who seem "weird," different, or exhibit some sign of madness. The people who fear are "poor cattle, they do not understand" ("Zero" 266), and "they will never discover…for they have no faith" ("Zero" 264). Durrell encourages them to put away their fears and stop looking for a logical explanation to "madness": "Come. Enter into the creative activity in which you do not need your understandings. Do not mistake truth for the possessive process any longer – ratiocination, knowledge" ("Zero" 252; emphasis added). Durrell believes that not everything needs a "rational" and "logical" explanation. Furthermore, though "madness" cannot be completely explained, it does not need to be feared. The old man in the asylum attempts to understand, "look[ing] profoundly cautious, asking questions, and gathering the answers" ("Zero" 268), and he comes close to understanding the narrator. However, his fear keeps him from grasping the truth: "For the first time there is an understanding in him, but it is hidden in fear" ("Zero" 258).
“Although Emily Dickinson is known as one of America’s best and most beloved poets, her extraordinary talent was not recognized until after her death” (Kort 1). Dickinson was born on December 10, 1830, in Amherst, Massachusetts, where she spent most of her life with her younger sister, older brother, semi-invalid mother, and domineering father in the house that her prominent family owned. As a child, she was curious and was considered a bright student and a voracious reader. She graduated from Amherst Academy in 1847, and attended a female seminary for a year, which she quitted as she considered that “’I [she] am [was] standing alone in rebellion [against becoming an ‘established Christian’].’” (Kort 1) and was homesick. Afterwards, she excluded herself from having a social life, as she took most of the house’s domestic responsibilities, and began writing; she only left Massachusetts once. During the rest of her life, she wrote prolifically by retreating to her room as soon as she could. Her works were influenced ...
Within the article Stephen King continuously states that we humans all have insanity within us. In the article,
Madness and Civilization: A History of Insanity in the Age of Reason. Trans. Richard Howard. New York: Pantheon, 1965.
Intelligence is often mistaken for brilliance, and conversely genius is mistaken for madness. Some of the greatest minds have been misconstrued in there time, and it is not until their whole life is taken into observance from the outside looking in, that their genius is realized and appreciated. Websters dictionary defines madness as "the act of being foolish or illogical." Ironically this form of thought has prompted some of the greatest advancements in government, science, and technology. It was the thought that every common man and woman should be included in his or her respective governments that prompted Democracy, a form of government unheard of before the signing of the Magna Carta. It was scientists and inventors thinking outside of the lines that inspired the cure for Small Pox and the invention of the computer. It can clearly be seen that serious thought is often the by-product of irrational thinking, this is also true for literature. It is while in madness, both feigned as well as sincere, that the characters in William Shakespeare's Hamlet are able to practice true mental clarity and express themselves in a manner free of treachery and falsehood.
The controversial topic of insanity manifests itself commonly in Romantic writing, and has been one much disputed over time. Some say that people who seem crazy are so above our own level of thought and understanding that we can’t possibly begin to identify with them and that we can find genius in the form of ordinary lunatics who connect to God and divinity in ways “normal” people don’t comprehend. Throughout works such as “The Cask of Amontillado and “The Castaway”, the authors question insanity with ideas that show the possible outcomes when one looks deep inside themselves for a divine spark or intuition. Both of these stories address madness in different forms, and madness itself is Godly experiences gone wrong; the person who receives the divine vision is unable to handle its raw truth.
What we see is not the truth, but rather our interpretation and distortion of the things we struggle to perceive. Our imagination, ideologies and perceptions fuse with our conception of reality, as we transform the world around us, give meanings to abstractions, and find order in a world programmed by madness. We are prone to madness, to nature, to the metaphorical forces that influence and envelop reality. In order to understand the metaphysical realm, we conceptualize these divine, omnipotent forces through our uses of symbols, thus creating an understandable world defined by rationality and philosophy thinking. Philosophical thinking and rationality enable us to both understand our world metaphorical and define what humanity is. These ideas
Much has been said about Emily Dickinson’s mystifying poetry and private life, especially during the years 1860-63. Allegedly it was during these years that the poetess, at the most prolific phase of her career, withdrew from society, began to wear her “characteristic” white dress and suffered a series of psychotic episodes. Dickinson tended to “theatricalize” herself by speaking through a host of personae in her poems and by “fictionalizing” her inner life as a gothic romance (Gilbert 584). Believing that a poem is “the best words in the best order” (to quote S.T. Coleridge) and that all the poems stemming from a single consciousness bring to surface different aspects / manifestations of the same personal mythology, I will firstly disregard biographical details in my interpretation of Dickinson’s poems 378, 341 and 280 and secondly place them in a sort of “continuum” (starting with 378 and ending with 280) to show how they attempt to describe a “plunge” into the Unconscious and a lapse into madness (I refrain from using the term “journey,” for it implies a “telos,” a goal which, whether unattainable or not, is something non-existent in the poems in question). Faced with the problem of articulating and concretizing inner psychological states, Dickinson created a totally new poetic discourse which lacks a transcendental signified and thus can dramatize the three stages of a (narrated) mental collapse: existential despair, withdrawal from the world of the senses and “death” of consciousness.
The sickness of insanity stems from external forces and stimuli, ever-present in our world, weighing heavily on the psychological, neurological, and cognitive parts of our mind. It can drive one to madness through its relentless, biased, and poisoned view of the world, creating a dichotomy between what is real and imagined. It is a defense mechanism that allows one to suffer the harms of injustice, prejudice, and discrimination, all at the expense of one’s physical and mental faculties.
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.
Reading a poem by Emily Dickinson can often lead the reader to a rather introspective state. Dickinson writes at length about the drastically transformative effect a book may have upon its’ reader. Alternating between iambic tetrameter and iambic trimeter, Dickinson masterfully uses the ballad meter to tell a story about the ecstasy brought by reading. In poem number 1587, she writes about the changes wrought upon the reader by a book and the liberty literature brings.
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.
“Behavior is what a man does, not what he thinks, feels, or believes.” was one of Emily Dickinson’s most famous quotes, showing much of her swaying from Romanticism to a more Realistic view, and changing the standards of writing along with it. Between 1858 and 1864 Emily Dickinson wrote over forty hand bound volumes of nearly 1800 poems, yet during her lifetime only a few were published. Perhaps this is why today we see Dickinson as a highly influential writer, unlike those during her time who did not see the potential. Emily Dickinson wrote most of her works towards the end of the romanticism era, but considered more of a realist, ahead of her time and one to shape the new movement. The main characteristic of Romanticism that Dickinson portrays in her writing emphases of the importance of nature to the Romantics, but she is known as a Realist because of her concern and fascination with death, and the harsh realities of life. Emily Dickinson’s upbringing and early education, along with living in reclusion with death all around her, greatly influenced on of the greatest female poets of all time.
Born into a well off family on December 10, 1830, Emily Dickinson and her family had no grasp on how she would live her life, or the lasting impact she would have (“Emily Dickinson-Biography.”). Growing up in the center of Amherst society, her ability to surpass the patriarchy of the time seemed unattainable (Crumbley). Her father, Edward Dickinson, prided himself as a model citizen and often ran for political positions. He was elected to the Massachusetts Legislature and to the Massachusetts State Senate (“Emily Dickinson.”). All of the men in the Dickinson men had political ambitions and were attorneys (Crumbley). Dickinson’s mother, however, appears to be a passive wife of a domineering husband (“Emily Dickinson.”). For a young, impressionable teenager, living in a household were men held the power and women weren’t allowed the same rights, led Dickinson to try to protect her differing opinions by adhering to standards of her family and keeping to herself (Eberwein).
impossible to tell the sane from the insane, the ability to reason ultimately becomes the