During a speech addressing attendees at the Jones Library in Amherst in 2004, Daria D’Arienzo spoke of the unveiling of Emily Dickinson’s daguerreotype which had been thought to be lost. “Like Dickinson’s own story, full of twists and turns and mystery. There are more questions than answers,” D’Arienzo states as she finishes speaking. The life of Emily Elizabeth Dickinson was diligently dictated through verses of poetry by the woman herself in hundreds of notebooks throughout her life. The depression and sickness that pulled her away from schooling at the Amherst Academy in her younger years likely plagued her for the rest of her adult life. The first volume of poems written by Dickinson was not published until 1890; after her sister Lavinia
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“That oppresses, like the Heft / Of Cathedral Tunes—” refers to the type of light that envelops the world in the winter. This is very much an atmosphere that most of Dickinson’s audience is able to relate to while reading the poem. “We can find no scar, / But internal difference—”, simply from appearances there is nothing wrong with this type of light. According to the speaker, the “Heavenly Hurt” comes internally. The issue is more inward and mentally debilitating than physically. Unlike in I died for Beauty—but was scarce (448), the oppressiveness of these surroundings are negative rather than freeing. The third stanza describes the type of “Despair” as being “An imperial affliction”. This gives the impression that the pain is ever present in her mind, and sometimes out weighs any other thoughts. Referring the to her despair as being a “seal” gives the impression that the pain is permanent. Throughout the poem the light is referenced as being both a bad thing, as well as good. In the fourth stanza this is made even clearer when Dickinson writes, “When it goes, ‘tis like the Distance / On the look of Death—”. Though Dickinson frequently uses death as a type of release, in this sense it is used as almost the opposite meaning. The “Shadows” represent a lack of the light, and therefore a lack of hope. The poem as a whole hints at a different stage in Dickinson’s life than the one’s previous. Instead of being …show more content…
Her sister-in-law Susan received many of these letters, and roughs drafts and notes were often writing on the envelopes Emily received in return. (Harvard College Library, 2016) “She is known for her poignant and compressed verse, which profoundly influenced the direction of 20th century poetry” (BIO, 2016) The influence of Emily Dickinson’s writings cannot be overstated. Her words resonate even with audiences today, and her hundreds of poems carry themes that are still relevant in today’s society. Unlike with other poets and writers of her time, Dickinson was wholly concerned with her own feelings, and how they affected her daily life. Despite living during the Civil War, there is no mention of these events in her writing other than the odd vague reference to loss and success for armies. In a 2015 article for The New York Times, Dwight Garner wrote of his newfound knowledge, love, and respect for Emily Dickinson. “I’m embarrassed by how long I resisted Emily Dickinson’s ‘Complete Poems,’ and how much my copy means to me now.” (Garner, 2015) A copy of Dickinson’s writings would not be seen as out of place on any modern bookshelf. Dog-eared pages and bindings that fall to the most loved and poured over stanzas. “I could not stop for Emily Dickinson, but she kindly stopped for me.” Garner wrote. “Her raw, spare, intense poetry was written as if carved into a desktop.” (Garner, 2015) The
“That oppresses, like the Heft / Of Cathedral Tunes—” refers to the type of light that envelops the world in the winter. This is very much an atmosphere that most of Dickinson’s audience is able to relate to while reading the poem. “We can find no scar, / But internal difference—”, simply from appearances there is nothing wrong with this type of light. According to the speaker, the “Heavenly Hurt” comes internally. The issue is more inward and mentally debilitating than physically. Unlike in I died for Beauty—but was scarce (448), the oppressiveness of these surroundings are negative rather than freeing. The third stanza describes the type of “Despair” as being “An imperial affliction”. This gives the impression that the pain is ever present in her mind, and sometimes out weighs any other thoughts. Referring the to her despair as being a “seal” gives the impression that the pain is permanent. Throughout the poem the light is referenced as being both a bad thing, as well as good. In the fourth stanza this is made even clearer when Dickinson writes, “When it goes, ‘tis like the Distance / On the look of Death—”. Though Dickinson frequently uses death as a type of release, in this sense it is used as almost the opposite meaning. The “Shadows” represent a lack of the light, and therefore a lack of hope. The poem as a whole hints at a different stage in Dickinson’s life than the one’s previous. Instead of being …show more content…
Her sister-in-law Susan received many of these letters, and roughs drafts and notes were often writing on the envelopes Emily received in return. (Harvard College Library, 2016) “She is known for her poignant and compressed verse, which profoundly influenced the direction of 20th century poetry” (BIO, 2016) The influence of Emily Dickinson’s writings cannot be overstated. Her words resonate even with audiences today, and her hundreds of poems carry themes that are still relevant in today’s society. Unlike with other poets and writers of her time, Dickinson was wholly concerned with her own feelings, and how they affected her daily life. Despite living during the Civil War, there is no mention of these events in her writing other than the odd vague reference to loss and success for armies. In a 2015 article for The New York Times, Dwight Garner wrote of his newfound knowledge, love, and respect for Emily Dickinson. “I’m embarrassed by how long I resisted Emily Dickinson’s ‘Complete Poems,’ and how much my copy means to me now.” (Garner, 2015) A copy of Dickinson’s writings would not be seen as out of place on any modern bookshelf. Dog-eared pages and bindings that fall to the most loved and poured over stanzas. “I could not stop for Emily Dickinson, but she kindly stopped for me.” Garner wrote. “Her raw, spare, intense poetry was written as if carved into a desktop.” (Garner, 2015) The