While the previous poem’s drafts varied in language, poem #346’s drafts’ differ in their use of pronouns and their syntactical construction. The prior will be discussed further along in our analysis of Dickinson’s drafts, but the syntactical variations between versions #346A and #346B of “He showed me hights I never saw” provide plenty of insight on how comparing Dickinson’s various choices from one draft to another can elicit some level of homoerotic narration. Because both drafts of Dickinson’s “He showed me hights I never saw” are written from what seems to be entirely different perspectives, a great majority of the text is reformatted. That being said, there are specific lines in which the poem’s punctuation calls attention to Dickinson’s …show more content…
They differ, however, in their syntactic formulation. Draft #346A’s fourth line reads, “‘With me –’ I said – With me?” (Dickinson 346A: 4). In the second version of the poem, the speaker—designated as male—asks the same question: “‘With me –’ He said – ‘With me’?” (Dickinson 346B: 4) The italicized words in the first draft represent the terms Dickinson intentionally emphasized in the copy she had sent to Susan Gilbert, the terms’ emphasis providing a tangible sense of desperation the second draft’s fourth line lacks. Additionally, Dickinson’s added use of quotation marks in the second draft calls into question why the original is formatted differently. By not enclosing “With me?” in quotation marks in her first draft of “I showed her hights she never saw,” Dickinson is coaxing her readers into scrutinizing the identity of the speaker (Dickinson 346A: 4). On the other hand, the male speaker in the second draft only seems concerned with his subject’s answer to his repeated question. Thus, while the male speaker is concerned with the request at hand, the speaker in the first draft is considering how their identity may interfere with their romantic
Alliteration is a key aspect to how the reader experiences the poem; it especially gives interest toward alliteration of the letter T. This alliteration begins in the very first line “Tell all the Truth but tell it slant-” (1.1). The alliteration on the T is used three times within the first line; however, it does not stop there. Dickinson uses the “T” sound to continually draw back to the theme of truth. Dickinson, through the use of two stanzas, four lines each, uses quite a distinct rhyme scheme to organize her poem. The second and fourth lines of each stanza are clearly examples of end rhyme, by using words such as “lies” (1.2) and “surprise” (1.4). However, every single line is not an example of end rhyme. The first and third lines rhyme words such as “slant” (1.1) and “delight” (1.3); which can be described as near rhymes for they give a small sensation of rhyming. This rhyming pattern continues for the second stanza as well. The sequence of rhyming is not arbitrarily put into practice, rather, it also adds on to the truth theme. The near rhymes Dickinson stresses to not tell the truth in its entirety, but rather, convey a little bit of truth. This is being directly compared to the almost rhyming sensatio...
Dickinson, on the other hand, was a free-style writer. She was carefree of how her writings do not include any type of meter or structure. She did not use standard punctuation. Instead, she referred to the use of dashes, unsystematic capitalization, and broken meter. It is not clear as to why she chose such a unique style of writing, but it worked for her. She was not concerned with correctness but with structure that would include considerate features. In “Defrauded I a Butterfly,” Dickinson left little room for meter or style used from European models in her time being it only consisted on two lines. Also, in “I’m Nobody! Who Are You?” the reader may recognize that the she did not use a traditional rhyme scheme that would usually be able to identify in poetry. She used AABC instead of the more noticeable and most often used ABAB or a more rare scheme ABCB.
She chooses this arrangement of verse in order to ordain a religious aspect into the poem, which does well to suite the theme and what she is fond of. As the recollection of the speaker’s death progresses, Dickinson uses the stanzas to mark the stages of the
The similarities between “I” and “VIII” exist in their use of irony, paradox, and repetition of ideas. Irony is woven throughout both poems. In “I”, the most apparent ironic statement is “as he defeated, dying, on whose forbidden ear the distant strains of triumph break, agonized and clear.” While we expect those alive and celebrating their victory to appreciate it most, Dickinson
Though Dickinson’s poem may initially seem transcendental, it can also be interpreted as a mixture of Emerson’s transcendental ideas and those that support the notion of imagination. Dickinson’s poem serves as a response to Emerson’s ideas because she adds on to his thoughts and unites his idea that there is oneness present in the world with the notion that imagination and sight serve as a bridge that connects human consciousness with nature to create this oneness that Emerson believes in. In the first stanza, the narrator says, that “I got my eye put out” (1), showing that she can now only see from one eye because of the singular use of eyes. Because she only talks of having lost sight in one eye, it can be assumed that she laments the limited vision that is now provided by her remaining eye. The narrator’s fragmented and limited vision caused by the loss of one eye is captured through the extensive use of dashes, which are used to separate the sentences, making them give a feeling of disarray and disjointedness.
Dickinson’s over abundant use of the hyphen is to put more voice into, to let the public know it’s her voice, technically being her “signature” as Kamilla Denman states. However, many conclude that the use of the hyphen signifies stress, which is considered to be a “female habit” (Denman). On the other hand, this poem uses the hyphen to enable a certain pause after each line to enhance the depth of her writing or message. In essence with that statement, the hyphen is just “as important as a period” since it does strengthen the psychological themes and moral of this
Similar to Shakespeare, Dickinson choses to put into use the iambic pentameter. The use of the meter enhances the poem, enabling the reader to go through the text with an easy rhythm in which one can digest the passage. “I Heard a Fly Buzz- When I Died” is a very complex poem, that may be difficult to analyze, but by breaking the poem apart piece by piece, using the iambic pentameter, analyzation becomes much easier. “I heard /a Fly /buzz - when /I died -/” (1) the pentameter stresses heard, fly, when, and died. Using those clues it is noted that the speaker is perhaps no longer living, based on the fact that he or she said “when” and “died”, which is past tense.the next three lines “The Still/ness in/ the Room/, Was like/ the Still/ness in/ the Air -/, Between /the Heaves/ of
One of Emily Dickinson’s poems, formally titled “The feet of people walking home,” is of some interest in its own merit. Unlike some of Dickinson’s other poems, such as the ones that exist among other versions due to a few dissimilarities, this poem is duplicated verbatim. To the untrained eye, this triviality would often be overlooked, were it not for the fact that Emily Dickinson had not intended on publishing many of her poems. Why, then, did she duplicate this poem? Perhaps a more in-depth analysis of the poem, as well as the current events in Dickinson’s life, would answer this query. Estimated to have been written in the year 1858, the poem begins its first stanza by conveying the emotions of gaiety and joyfulness, which are associated with passage to heaven. A much more somber note pervades the second stanza, in which Dickinson uses metaphors to compare the entrance to heaven with the act of theft. The third stanza combines the previous two by hinting at the theory that those who are already in heaven do not want more people entering heaven’s gates, because that would diminish the high status that heaven and angels hold.
Vendler, Helen. Dickinson: Selected Poems and Commentaries. President and Fellows of Harvard College, 2010. 118-20. Google Books. Google. Web. 5 April. 2014. .
Truth and honesty are key elements to a good, healthy relationship. However, in Shakespeare's Sonnet 138, the key to a healthy relationship between the speaker and the Dark Lady is keeping up the lies they have constructed for one another. Through wordplay Shakespeare creates different levels of meaning, in doing this, he shows the nature of truth and flattery in relationships.
William Shakespeare was an excellent writer, who throughout his life created well written pieces of literatures which are valued and learned about in modern times. One of his many works are 154 Sonnets, within these Sonnets there are several people Shakespeare “writes to”, such as fair youth, dark lady and rival poet. Sonnet 20 is written to fair youth, or in other words a young man. The idea of homosexuality appears in Sonnet 20 after the speaker admits his love towards the young man.
The average reader cannot help but be affected by Dickinson’s style. The capitalized words draw the reader’s attention. They highlight important key words of the poem. The dashes set apart specific words and phrases, forcing the reader to slow down while reading. The dashes compel the reader to contemplate and ponder over the lines. Thus, whether or not Dickinson had a conscious purpose in her unconventional capitalization and punctuation, they have an undeniable effect on the rhythm of the poem and the perception of the reader.
In the second quatrain, the lover grants to Time its own will: "And do whate'er
Dickinson states, “Thought belong to Him who gave it --,” and presents the notion that all human thought is owned by God and that God is the individual that allows and gives us freedom of thought. If one was to publish the work that they produce and bear, they would be committing plagiarism as the words they would claim as their own would actually be God’s words, furthermore strengthening Dickinson’s case that publication is an evil and sinful act. The second half of the stanza states “Then – to Him Who bear It’s Corporeal illustration – sell The Royal air,” and Dickinson’s conflicted character is furthermore put on display. These lines are juxtaposed with the first as terms such as “corporeal” and “royal air” are used. Typically, when referring to God, one does not mix ideas of the flesh and royalty as they represent two the seven deadly sins, lust and greed.
In Shakespeare’s sonnet 130, the speaker ponders the beauty, or the lack thereof, of his lover. Throughout the sonnet, the speaker presents his lover as an unattractive mistress with displeasing features, but in fact, the speaker is ridiculing, through the use of vivid imagery, the conventions of love poems and the way woman are portrayed through the use of false comparisons. In the end, the speaker argues that his mistress may not be perfect, but in his eyes, her beauty is equal to any woman who is abundantly admired and put through the untrue comparison.