Throughout her life, she seldom left her home and visitors were few. The people with whom she did come in contact, however, had an enormous impact on her poetry. She was particularly stirred by the Reverend Charles Wadsworth, whom she first met on a trip to Philadelphia.
Thomas Wentworth Higginson, an American minister, author, abolitionist, and soldier. After he wrote a piece encouraging new writers in the Atlantic Monthly, Dickinson sent him a small selection of poems, knowing from his past writings that he was particularly sympathetic to the cause of female writers.
He ultimately became her only critic and literary mentor.
In their first correspondence, she asked him if her poems were "alive" and if they "breathed. Most likely, Higginson felt that she was unclassifiable within the poetic establishment of the day; departing from traditional forms as well as conventions of language and meter, her poems would have seemed odd, even unacceptable, to her contemporary audience.
Even though he failed her as a critic and colleague—telling her not to publish, never offering any real encouragement—she was pleased that he read her poems, and credited her audience of one with "saving her life.
It is unclear to biographers and critics exactly what books Dickinson had access to, beyond the books that she makes mention of, often cryptically, in her letters. Among the or so classic works found in her family library some of which may not have been in the library during her lifetime and a few hundred more mundane works and popular novels that she discussed in letters, it is unlikely that she had read more than a handful of philosophers, poets, and novelists.
Influenced most by the Bible, Shakespeareand the seventeenth century metaphysicals noted for their extravagant metaphors in linking disparate objectsshe wrote poems on grief, love, death, loss, affection, and longing.
Her presumed reading in the natural sciences, also reconstructed from a study of her family library, allowed her to bring precision and individuality to natural subjects; she observed nature for itself rather than as a testament to the glory of creation, and touched upon the less beautiful aspects of nature, such as weeds and clover.
Her forms were various and included riddles, declarations, complaints, love songs, stories, arguments, prayers, and definitions. Drawing from primarily musical forms such as hymns and ballads, a Dickinson poem is unusual in that it both slows down and speeds up, interrupts itself, holds its breath, and sometimes trails off.
The reader is led through the poem by the shape of her stanza forms, typically quatrains, and her unusual emphasis of words, either through capitalization or line position. The meter varies quite a bit even from the stresses expected in a hymn or ballad. Hymn meter differs from traditional meter by counting syllables, not "feet.
However, unlike writers of traditional hymns, Dickinson took liberties with the meter. She also allowed herself to use enjambment more frequently than traditional hymn writers, breaking lines where there were no natural or syntactic pauses.
For example, in the second stanza of " I cannot live with you ," she writes: What is now known as her poetics or prosody is bound to a discussion of how her poems have been edited and how her handwritten manuscripts have been interpreted in contemporary editions.
Beyond deciphering her handwriting and trying to guess at dates, editors have had to work from poems that often appeared in several unfinished forms, with no clear, definitive version.
Early publications of her selected poems were horribly botched in an attempt to "clean up" her verse; they were only restored in the collected poems as edited by Thomas H. Johnson infirst in three volumes with considerable variants for each poem, and then in a single volume of all 1, poems five years later in which a "best copy" was chosen for each poem.
In no case were several versions of a poem combined. Only twenty-five were given titles by Johnson, and those that were titled were often done reluctantly.Dec 22, · Here, by special request from a reader, is a personality analysis of poetess Emily Dickinson's handwriting.
Click on the picture of her writing to view a larger version. The rightward slant of Dickinson's handwriting shows that she is emotionally expressive. She is likely more heart-ruled than head-ruled.
She often relies more on her desires rather. The BFDE provides a certified training program for handwriting analysis (t/f) false.
as well as works attributed to Emily Dickinson, Abraham Lincoln, and Mark Twain. mark hofman. in the 17th century, before the stethoscope was invented, anyone in a coma or with a weak heartbeat was presumed dead, and buried (t/f).
Jun 27, · One irony is that Emily Dickinson is a big “somebody” in American Literature.
|From the SparkNotes Blog||Throughout her life, she seldom left her home and visitors were few. The people with whom she did come in contact, however, had an enormous impact on her poetry.|
She created works worth bragging about. The poems of Emily Dickinson have . May 04, · But Emily Dickinson’s handwriting gives a lot of hints as to who she was outside of her poetry. For example, all of her writing is bent at a quick slant, .
Thomas H. Johnson, who later published The Poems of Emily Dickinson, was able to date only five of Dickinson's poems before Two of these are mock valentines done in an ornate and humorous style, and two others are conventional lyrics, one of which is about missing her brother Austin.
However, Farr disagrees with this analysis, saying. A lthough Emily Dickinson's calling as a poet began in her teen years, she came into her own as an artist during a short but intense period of creativity that resulted in her composing, revising, and saving hundreds of poems.
That period, which scholars identify as , overlaps with the most significant event of American nineteenth-century history, the Civil War.