The Romantic Period, 1820-1860: Essayists and Poets

Although Dickinson was a prolific private poet, fewer than a dozen of her nearly eighteen hundred poems were published during her lifetime. The work that was published during her lifetime was usually altered significantly by the publishers to fit the conventional poetic rules of the time. Dickinson's poems are unique for the era in which she wrote; they contain short lines, typically lack titles, and often use slant rhyme* as well as unconventional capitalization and punctuation.

*Slant rhyme - Half rhyme or sometimes called sprung, near rhyme, oblique rhyme, off rhyme or imperfect rhyme - is consonance on the final consonants of the words involved (e.g. ill with shell). Many half/slant rhymes are also eye rhymes.

"Hope is the thing with feathers" by E. Dickinson:

Hope is the thing with feathers

That perches in the soul,

And sings the tune without the words,

And never stops at all.

The term 'slant rhyme' has been called into question due to its misleading meaning. A 'slant rhyme' suggests the words rhyme (which they do not) in a slanted fashion as opposed to nearly rhyming or half rhyming.

Emily was a radical individualist, led an unconventional life that was outwardly uneventful but was full of inner intensity. She loved nature and found deep inspiration in the birds, animals, plants, and changing seasons of the New England countryside. When she was eighteen, Dickinson's family befriended a young attorney by the name of Benjamin Franklin Newton. According to a letter written by Dickinson after Newton's death, he had been "with my Father two years, before going to Worcester – in pursuing his studies, and was much in our family." Although their relationship was probably not romantic, Newton was a formative influence and would become the second in a series of older men that Dickinson referred to, variously, as her tutor, preceptor or master.

Newton likely introduced her to the writings of William Wordsworth, and his gift to her of Ralph Waldo Emerson's first book of collected poems had a liberating effect.

Emily Dickinson had no abstract theory of poetry. It is not certain if she was familiar with the poetic theories of Edgar Allan Poe, Coleridge, Emerson, Whitman and Matthew Arnold. When editor Thomas Higginson asked her to define poetry, she gave a subjective, emotional response: "If I read a book and it makes my whole body so cold no fire can ever warm me, I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only ways I know it. Is there any other way?"

Dickinson was not widely read, but knew the Bible, the works of William Shakespeare, and works of classical mythology in great depth. These were her true teachers, for Dickinson was certainly the most solitary literary figure of her time. That this shy, withdrawn, village woman, almost unpublished and unknown, created some of the greatest American poetry of the 19th century has fascinated the public since the 1950s, when her poetry was rediscovered.

Dickinson's terse, frequently imagistic style is even more modern and innovative than Whitman's. She never uses two words when one will do, and combines concrete things with abstract ideas in an almost proverbial, compressed style. Her best poems have no fat; many mock current sentimentality, and some are even heretical. She sometimes shows a terrifying existential awareness. Like Poe, she explores the dark and hidden part of the mind, dramatizing death and the grave. Yet she also celebrated simple objects -- a flower, a bee. Her poetry exhibits great intelligence and often evokes the agonizing paradox of the limits of the human consciousness trapped in time. She had an excellent sense of humor, and her range of subjects and treatment is amazingly wide. Her poems are generally known by the numbers assigned them in Thomas H. Johnson's standard edition of 1955. They bristle with odd capitalizations and dashes.

Date: 2015-12-17; view: 708